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Screening the male re-examines the problematic status of
masculinity both in Hollywood cinema and feminist film theory.
Classical Hollywood cinema has been theoretically established as a
vast pleasure machine, manufacturing an idealized viewer through
its phallocentric ideological apparatus. Feminist criticism has
shown how difficult it is for the female viewer to resist becoming
implicated in this representational system. But the theroies have
overlooked the significance of the problem itself - of the masuline
motivation at the core of the system. The essays here explore those
male characters, spectators, and performers who occupy positions
conventionally encoded as "feminine" in Hollywood narrative and
questions just how secure that orthodox male position is. Screening
the Male brings together an impressive group of both established
and emerging scholars from Britain, the United States and Australia
unified by a concern with issues that film theorists have
exclusively inked to the femninie and not the masculne: spectacle,
masochism, passivity, masquerade and, most of all, the body as it
signifies gendered, racial, class and generatonal differences.
Transnational Cinema: The Film Reader provides an overview of
the key concepts and debates within the developing field of
transnational cinema.
Bringing together seminal essays from a wide range of sources,
this volume engages with films that fashion their narrative and
aesthetic dynamics in relation to more than one national or
cultural community. The reader is divided into four sections:
- From National to Transnational Cinema
- Global Cinema in the Digital Age
- Motion Pictures: Film, Migration and Diaspora
- Tourists and Terrorists.
From the kinetoscope, used by one viewer at a time, to the lavish movie palaces of Hollywood's golden era, the experience of watching films has varied enormously across film. Exhibition, The Film Reader traces the emergence of a culture of moviegoing, exploring the range of venues in which films have been shown and following the fluctuating status of film and the continuing struggle over audiences. Contributors explore the meanings conveyed to spectators through exhibition sites and practices, and raise key issues of distribution, access and consumption. Essays by: Dudley Andrew, Anthony Downs, Gary Edgerton, Anne Friedberg, Kathryn Helgesen Fuller, Douglas Gomery, Thomas Guback, Ben M. Hall, Ina Rae Hark, Charlotte Herzog, Russell Meritt, William Paul, Suzanne I. Schiller, Gregory Waller, Barbara Wilinsky.
The Road Movie Book is the first comprehensive study of an enduring but ever-changing Hollywood genre, its place in American culture, and its legacy to world cinema. The road and the cinema both flourished in the twentieth century, as technological advances brought motion pictures to a mass audience and the mass produced automobile opened up the road to the ordinary American. When Jean Baudrillard equated modern American culture with 'space, speed, cinema, technology' he could just as easily have added that the road movie is it's supreme emblem. The contributors explore how the road movie has confronted and represented issues of nationhood, sexuality, gender, class and race. They map the generic terrain of the road movie, trace its evolution on American television as well as on the big screen from the 1930s through the 1980s and, finally, consider road movies that go off the road, departing from the US landscape or travelling on the margins of contemporary American culture. Movies discussed include: * Road classics such as It Happened One Night, The Grapes of Wrath, The Wizard of Oz and the Bob Hope-Bing Crosby Road to films * 1960s reworkings of the road movie in Easy Rider and Bonnie and Clyde * Russ Meyer's road movies: from Motorpsycho! to Faster Pussycat! Kill! Kill! * Contemporary hits such as Paris Texas, Rain Man, Natural Born Killers and Thelma and Louise * The road movie, Australian style, from Mad Max to the Adventures of Priscilla, Queen of the Desert.
The road is an enduring theme in American culture; from "The Wizard
of Oz" to "Thelma and Louise," and from "Bonnie and Clyde" to
"Natural Born Killers," cinematic portrayals of road journeys
continually captivate the American imagination. But what is so
American about the genre and why does it translate well to some
countries but not others?
In "The Road Movie Book," Steven Cohan and Ina Rae Hark collect
essays that attempt to answer these, as well as other questions,
about one of the key genres of modern cinema. Organized into three
sections, the first, "Mapping Boundaries," contains essays that
sketch broad themes and ideological tropes of the genre. The
following section, "American Roads," further historicizes the
issues raised in section one and traces the continual reinvention
of the genre in Hollywood film from the early 1940s to the end of
the 1980s. "Alternate Routes," the final section of essays,
concentrates on road films that depart from the American landscape
or that travel on its cultural margins to explore why the road
movie is so pertinent to those who are alienated or marginalized by
society. The essays discuss a broad range of films, including "Easy
Rider, Thelma and Louise, The Grapes of Wrath, It Happened One
Night, Faster Pussycay! Kill! Kill!, The Adventures of Priscilla,
Queen of the Desert," and "My Own Private Idaho." With 44 stills
from the movies discussed, this fascinating collection is the most
comprehensive volume devoted solely to the genre of the road movie.
Screening the male re-examines the problematic status of masculinity both in Hollywood cinema and feminist film theory. Classical Hollywood cinema has been theoretically established as a vast pleasure machine, manufacturing an idealized viewer through its phallocentric ideological apparatus. Feminist criticism has shown how difficult it is for the female viewer to resist becoming implicated in this representational system. But the theroies have overlooked the significance of the problem itself - of the masuline motivation at the core of the system. The essays here explore those male characters, spectators, and performers who occupy positions conventionally encoded as "feminine" in Hollywood narrative and questions just how secure that orthodox male position is. Screening the Male brings together an impressive group of both established and emerging scholars from Britain, the United States and Australia unified by a concern with issues that film theorists have exclusively inked to the femninie and not the masculne: spectacle, masochism, passivity, masquerade and, most of all, the body as it signifies gendered, racial, class and generatonal differences. eBook available with sample pages: 0203142217
From successful, published editors, Transnational Cinema: The Film
Reader provides an overview of the key concepts and debates within
the developing field of transnational cinema. Bringing together
seminal essays from a wide range of sources, this volume engages
with films that fashion their narrative and aesthetic dynamics in
relation to more than one national or cultural community,
demonstrating that, in an era no longer marked by the sharp
divisions between communist and capitalist nation states, or even
'first' and 'third' worlds, Europe and the U.S. must be factored
into the increasingly hybrid notion of 'world cinema'. The reader
is divided into four sections: From National to Transnational
Cinema; Global Cinema in the Digital Age; Motion Pictures: Film,
Migration and Diaspora; and Tourists and Terrorists. Examining how
the significance of crossing borders varies according to the ethnic
and/or gendered identity of the traveller the editors suggest that
the crossing of certain lines generates fundamental shifts in both
the aesthetics and the ethics of cinema as a representational art.
studies students have a one-stop reference for all their
transnational cinema needs.
From the kinetoscope, used by one viewer at a time, to the lavish movie palaces of Hollywood's golden era, the experience of watching films has varied enormously across film. Exhibition, The Film Reader traces the emergence of a culture of moviegoing, exploring the range of venues in which films have been shown and following the fluctuating status of film and the continuning struggle over audiences. Contributors explore the meanings conveyed to spectators through exhibition sites and practices, and raise key issues of distribution, access and consumption. Essays by: Dudley Andrew, Anthony Downs, Gary Edgerton, Anne Friedberg, Kathryn Helgesen Fuller, Douglas Gomery, Thomas Guback, Ben M. Hall, Ina Rae Hark, Charlotte Herzog, Russell Meritt, William Paul, Suzanne I. Schiller, Gregory Waller, Barbara Wilinsky.
A definitive study of David Milch's HBO series Deadwood in the
context of the television western as a genre and the intersection
of capital and violence in American history.
Probably no decade saw as many changes in the Hollywood film
industry and its product as the 1930s did. At the beginning of the
decade, the industry was still struggling with the transition to
talking pictures. Gangster films and naughty comedies starring Mae
West were popular in urban areas, but aroused threats of censorship
in the heartland. Whether the film business could survive the
economic effects of the Crash was up in the air. By 1939, popularly
called "Hollywood's Greatest Year," films like "Gone With the Wind
"and "The Wizard of Oz" used both color and sound to spectacular
effect, and remain American icons today. The "mature oligopoly"
that was the studio system had not only weathered the Depression
and become part of mainstream culture through the establishment and
enforcement of the Production Code, it was a well-oiled, vertically
integrated industrial powerhouse.
The ten original essays in "American Cinema of the 1930s" focus on
sixty diverse films of the decade, including "Dracula," "The Public
Enemy," "Trouble in Paradise," "42nd Street," "King Kong,"
"Imitation of Life," "The Adventures of Robin Hood," "Swing Time,"
"Angels with Dirty Faces," "Nothing Sacred," " Jezebel," "Mr. Smith
Goes to""Washington," and "Stagecoach" .
Shirley Temple, Clark Gable, Errol Flynn and Olivia de Havilland,
Fred Astaire and Ginger Rogers, Bette Davis, Joan Crawford and
Norma Shearer, Marlene Dietrich and Greta Garbo, William Powell and
Myrna Loy, Jean Harlow, and Gary Cooper-"Glamour in a Golden Age"
presents original essays from eminent film scholars that analyze
movie stars of the 1930s against the background of contemporary
American cultural history.
Stardom is approached as an effect of, and influence on, the
particular historical and industrial contexts that enabled these
actors and actresses to be discovered, featured in films,
publicized, and to become recognized and admired-sometimes even
notorious-parts of the cultural landscape. Using archival and
popular material, including fan and mass market magazines, other
promotional and publicity material, and of course films themselves,
contributors also discuss other artists who were incredibly popular
at the time, among them Ann Harding, Ruth Chatterton, Nancy
Carroll, Kay Francis, and Constance Bennett.
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