|
Showing 1 - 4 of
4 matches in All Departments
Winner of the 2023 Association for the Study of Food and Society
Book Prize for Edited Volume Image by image and hashtag by hashtag,
Instagram has redefined the ways we relate to food. Emily J. H.
Contois and Zenia Kish edit contributions that explore the
massively popular social media platform as a space for
self-identification, influence, transformation, and resistance.
Artists and journalists join a wide range of scholars to look at
food’s connection to Instagram from vantage points as diverse as
Hong Kong’s camera-centric foodie culture, the platform’s long
history with feminist eateries, and the photography of
Australia’s livestock producers. What emerges is a portrait of an
arena where people do more than build identities and influence.
Users negotiate cultural, social, and economic practices in a place
that, for all its democratic potential, reinforces entrenched
dynamics of power. Interdisciplinary in approach and transnational
in scope, Food Instagram offers general readers and experts alike
new perspectives on an important social media space and its impact
on a fundamental area of our lives. Contributors: Laurence Allard,
Joceline Andersen, Emily Buddle, Robin Caldwell, Emily J. H.
Contois, Sarah E. Cramer, Gaby David, Deborah A. Harris, KC
Hysmith, Alex Ketchum, Katherine Kirkwood, Zenia Kish, Stinne
Gunder Strøm Krogager, Jonathan Leer, Yue-Chiu Bonni Leung,
Yi-Chieh Jessica Lin, Michael Z. Newman, Tsugumi Okabe, Rachel
Phillips, Sarah Garcia Santamaria, Tara J. Schuwerk, Sarah E.
Tracy, Emily Truman, Dawn Woolley, and Zara Worth
Stars and Silhouettes traces the history of the cameo as it emerged
in twentieth-century cinema. Although the cameo has existed in film
culture for over a century, Joceline Andersen explains that this
role cannot be strictly defined because it exists as a
constellation of interactions between duration and recognition,
dependent on who is watching and when. Even audiences of the
twenty-first century who are inundated by the lives of movie stars
and habituated to images of their personal friends on screens
continue to find cameos surprising and engaging. Cameos reveal the
links between our obsession with celebrity and our desire to
participate in the powerful cultural industries within contemporary
society. Chapter 1 begins with the cameo's precedents in visual
culture and the portrait in particular-from the Vitagraph
executives in the 1910s to the emergence of actors as movie stars
shortly after. Chapter 2 explores the fan-centric desire for
behind-the-scenes visions of Hollywood that accounted for the
success of cameo-laden, Hollywood-set films that autocratic studios
used to make their glamorous line-up of stars as visible as
possible. Chapter 3 traces the development of the cameo in comedy,
where cameos began to show not only glimpses of celebrities at
their best but also of celebrities at their worst. Chapter 4
examines how the television guest spot became an important way for
stars and studios to market both their films and stars from other
media in trades that reflected an increasingly integrated
mediascape. In Chapter 5, Andersen examines auteur cameos and the
cameo as a sign of authorship. Director cameos reaffirm the fan's
interest in the film not just as a stage for actors but as a forum
for the visibility of the director. Cameos create a participatory
space for viewers, where recognizing those singled out among extras
and small roles allows fans to demonstrate their knowledge. Stars
and Silhouettes belongs on the shelf of every scholar, student, and
reader interested in film history and star studies.
Image by image and hashtag by hashtag, Instagram has redefined the
ways we relate to food. Emily J. H. Contois and Zenia Kish edit
contributions that explore the massively popular social media
platform as a space for self-identification, influence,
transformation, and resistance. Artists and journalists join a wide
range of scholars to look at food's connection to Instagram from
vantage points as diverse as Hong Kong's camera-centric foodie
culture, the platform's long history with feminist eateries, and
the photography of Australia's livestock producers. What emerges is
a portrait of an arena where people do more than build identities
and influence. Users negotiate cultural, social, and economic
practices in a place that, for all its democratic potential,
reinforces entrenched dynamics of power. Interdisciplinary in
approach and transnational in scope, Food Instagram offers general
readers and experts alike new perspectives on an important social
media space and its impact on a fundamental area of our lives.
Contributors: Laurence Allard, Joceline Andersen, Emily Buddle,
Robin Caldwell, Emily J. H. Contois, Sarah E. Cramer, Gaby David,
Deborah A. Harris, KC Hysmith, Alex Ketchum, Katherine Kirkwood,
Zenia Kish, Stinne Gunder Strom Krogager, Jonathan Leer, Yue-Chiu
Bonni Leung, Yi-Chieh Jessica Lin, Michael Z. Newman, Tsugumi
Okabe, Rachel Phillips, Sarah Garcia Santamaria, Tara J. Schuwerk,
Sarah E. Tracy, Emily Truman, Dawn Woolley, and Zara Worth
Stars and Silhouettes traces the history of the cameo as it emerged
in twentieth-century cinema. Although the cameo has existed in film
culture for over a century, Joceline Andersen explains that this
role cannot be strictly defined because it exists as a
constellation of interactions between duration and recognition,
dependent on who is watching and when. Even audiences of the
twenty-first century who are inundated by the lives of movie stars
and habituated to images of their personal friends on screens
continue to find cameos surprising and engaging. Cameos reveal the
links between our obsession with celebrity and our desire to
participate in the powerful cultural industries within contemporary
society. Chapter 1 begins with the cameo's precedents in visual
culture and the portrait in particular-from the Vitagraph
executives in the 1910s to the emergence of actors as movie stars
shortly after. Chapter 2 explores the fan-centric desire for
behind-the-scenes visions of Hollywood that accounted for the
success of cameo-laden, Hollywood-set films that autocratic studios
used to make their glamorous line-up of stars as visible as
possible. Chapter 3 traces the development of the cameo in comedy,
where cameos began to show not only glimpses of celebrities at
their best but also of celebrities at their worst. Chapter 4
examines how the television guest spot became an important way for
stars and studios to market both their films and stars from other
media in trades that reflected an increasingly integrated
mediascape. In Chapter 5, Andersen examines auteur cameos and the
cameo as a sign of authorship. Director cameos reaffirm the fan's
interest in the film not just as a stage for actors but as a forum
for the visibility of the director. Cameos create a participatory
space for viewers, where recognizing those singled out among extras
and small roles allows fans to demonstrate their knowledge. Stars
and Silhouettes belongs on the shelf of every scholar, student, and
reader interested in film history and star studies.
|
|