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Downtown Film and TV Culture 1975-2001 brings together essays by
filmmakers, exhibitors, cultural critics and scholars from multiple
generations of the New York Downtown scene to illuminate individual
films and filmmakers and explore the creation of a Downtown Canon,
the impact of AIDS on younger filmmakers, community access to cable
television broadcasts, and the impact of the historic downtown
scene on contemporary experimental culture. The book includes J.
Hoberman's essay 'No Wavelength: The Parapunk Underground', as well
as historical essays by Tony Conrad and Lynne Tillman, interviews
with filmmakers Bette Gordon and Beth B, and essays by Ivan Kral
and Nick Zedd.
William S. Burroughs Cutting Up the Century is the definitive book
on Burroughs' overarching cut-up project and its relevance to the
American twentieth century. Burroughs's Nova Trilogy (The Soft
Machine, Nova Express, and The Ticket That Exploded) remains the
best-known of his textual cut-up creations, but he committed more
than a decade of his life to searching out multimedia for use in
works of collage. By cutting up, folding in, and splicing together
newspapers, magazines, letters, book reviews, classical literature,
audio recordings, photographs, and films, Burroughs created an
eclectic and wide-ranging countercultural archive. This collection
includes previously unpublished work by Burroughs such as cut-ups
of work written by his son, cut-ups of critical responses to his
own work, collages on the Vietnam War and the Watergate scandal,
excerpts from his dream journals, and some of the few diary entries
that Burroughs wrote about his wife, Joan. William S. Burroughs
Cutting Up the Century also features original essays, interviews,
and discussions by established Burroughs scholars, respected
artists, and people who encountered Burroughs. The essays consider
Burroughs from a range of starting points-literary studies, media
studies, popular culture, gender studies, post-colonialism,
history, and geography. Ultimately, the collection situates
Burroughs as a central artist and thinker of his time and considers
his insights on political and social problems that have become even
more dire in ours.
Even before Jean-Luc Godard and other members of the French New
Wave championed Hollywood B movies, aesthetes and cineasts relished
the raw emotions of genre films. This contradiction has been
particularly true of horror cinema, in which the same images and
themes found in exploitation and splatter movies are also found in
avant-garde and experimental films, blurring boundaries of taste
and calling into question traditional distinctions between high and
low culture.
In Cutting Edge, Joan Hawkins offers an original and provocative
discussion of taste, trash aesthetics, and avant-garde culture of
the 1960s and 1970s to reveal horror's subversiveness as a genre.
In her treatment of what she terms "art-horror" films, Hawkins
examines home viewing, video collection catalogs, and fanzines for
insights into what draws audiences to transgressive films. Cutting
Edged provides the first extended political critique of Yoko Ono's
rarely seen Rape and shows how a film such as Franju's Eyes without
a Face can work simultaneously as an art, political, and splatter
film. The rediscovery of Tod Browning's Freaks as an art film, the
"eurotrash" cinema of Jess Franco, camp cults like the one around
Maria Montez, and the "cross-over" reception of Andy Warhol's
Frankenstein are all studied for what they reveal about cultural
hierarchies.
Looking at the low aspects of high culture and the high aspects
of low culture, Hawkins scrutinizes the privilege habitually
accorded "high" art -- a tendency, she argues, that lets highbrow
culture off the hook and removes it from the kinds of ethical and
critical social discussions that have plagued horror and porn. Full
of unexpected insights, Cutting Edge calls fora rethinking of
high/low distinctions -- and a reassigning of labels at the video
store.
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Rematch (Paperback)
Joan Hawkins
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R431
R384
Discovery Miles 3 840
Save R47 (11%)
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A novel of greed, love and family. When Helen Reed, a wealthy
widow, engages young masseur, David Sweeney, to alleviate the pain
of her final days, her voracious brood move in with other plans. A
novel of greed, love and family. When Helen Reed, a wealthy widow,
engages young masseur, David Sweeney, to alleviate the pain of her
final days of illness, her brood move in voraciously with other
plans. Trespassis a fascinating portrait of a family, of a
moribund, spirited woman living life to the full for as long as she
has it. It's the tale of a young girl coming of age, of a
musician's fear of failure, an artist's quest for success and about
the financial collapse of a man whose city career has just fallen
apart. Joan Hawkins' third novel is set in an idyllic New England
haven, where a newly-constructed swimming pool in the leafy grounds
of Helen's home becomes a symbol of her independence and of her
family's deepest resentments. While masseur David Sweeney brings
relief and calm to the widow's pain, the underbelly of Helen Reed's
summer cottage cannot be brushed under the Persian carpet. Its
quagmire of misguided dreams, desires and betrayals make truth and
beauty as elusive as the ripples across the pool in her yard.
A moving and often harrowing account of one young woman's struggle
against her childhood demons, "Bailey" explores the idea of self,
and how the psyche can lose its way in a labyrinth of memory, fear
and desire. Confined in an asylum, Bailey seeks to emerge from a
hazy, tormented existence in which the only solid entity is Jim,
her fellow inmate. The problem is that Jim is a creature as haunted
as Bailey herself, and their respective pasts cloud a secret that
makes their friendship more than a chance encounter. The struggle
of Bailey to recover her belief in the goodness of the child she'd
been and the growing certainty that Jim Peabody was the hero of her
childhood provides the momentum of the story. With its themes of
social snobbery, family dysfunction and ultimate redemption, Bailey
is a passionate, daring novel that reveals the underbelly of a
society that presents itself as the epitome of respectability.
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