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In this cross-cultural history of narrative cinema and media
from the 1910s to the 1930s, leading and emergent scholars explore
the transnational crossings and exchanges that occurred in early
cinema between the two world wars. Drawing on film archives from
around the world, this volume advances the premise that silent
cinema freely crossed national borders and linguistic thresholds in
ways that became far less possible after the emergence of sound.
These essays address important questions about the uneven forces
geographic, economic, political, psychological, textual, and
experiential that underscore a non-linear approach to film history.
The "messiness" of film history, as demonstrated here, opens a new
realm of inquiry into unexpected political, social, and aesthetic
crossings of silent cinema."
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Unwatchable (Paperback)
Nicholas Baer, Maggie Hennefeld, Laura Horak, Gunnar Iversen
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R911
Discovery Miles 9 110
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Ships in 12 - 17 working days
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We all have images that we find unwatchable, whether for ethical,
political, or sensory and affective reasons. From news coverage of
terror attacks to viral videos of police brutality, and from
graphic horror films to transgressive artworks, many of the images
in our media culture might strike us as unsuitable for viewing. Yet
what does it mean to proclaim something "unwatchable": disturbing,
revolting, poor, tedious, or literally inaccessible? With over 50
original essays by leading scholars, artists, critics, and
curators, this is the first book to trace the "unwatchable" across
our contemporary media environment, in which viewers encounter
difficult content on various screens and platforms. Appealing to a
broad academic and general readership, the volume offers
multidisciplinary approaches to the vast array of troubling images
that circulate in global visual culture.
Marlene Dietrich, Greta Garbo, and Katharine Hepburn all made
lasting impressions with the cinematic cross-dressing they
performed onscreen. What few modern viewers realize, however, is
that these seemingly daring performances of the 1930s actually came
at the tail end of a long wave of gender-bending films that
included more than 400 movies featuring women dressed as men. Laura
Horak spent a decade scouring film archives worldwide, looking at
American films made between 1908 and 1934, and what she discovered
could revolutionize our understanding of gender roles in the early
twentieth century. Questioning the assumption that cross-dressing
women were automatically viewed as transgressive, she finds that
these figures were popularly regarded as wholesome and regularly
appeared onscreen in the 1910s, thus lending greater respectability
to the fledgling film industry. Horak also explores how and why
this perception of cross-dressed women began to change in the 1920s
and early 1930s, examining how cinema played a pivotal part in the
representation of lesbian identity. Girls Will Be Boys excavates a
rich history of gender-bending film roles, enabling readers to
appreciate the wide array of masculinities that these actresses
performed-from sentimental boyhood to rugged virility to
gentlemanly refinement. Taking us on a guided tour through a
treasure-trove of vintage images, Girls Will Be Boys helps us view
the histories of gender, sexuality, and film through fresh eyes.
2016 Choice Outstanding Academic Title Finalist for
2016 Richard Wall Memorial Award from the Theatre Library
Association Long-listed for the 2017 Best Photography Book Award
from the Kraszna-Krausz Foundation​ Marlene Dietrich, Greta
Garbo, and Katharine Hepburn all made lasting impressions with the
cinematic cross-dressing they performed onscreen. What few modern
viewers realize, however, is that these seemingly daring
performances of the 1930s actually came at the tail end of a long
wave of gender-bending films that included more than 400 movies
featuring women dressed as men. Â Laura Horak spent a decade
scouring film archives worldwide, looking at American films made
between 1908 and 1934, and what she discovered could revolutionize
our understanding of gender roles in the early twentieth century.
Questioning the assumption that cross-dressing women were
automatically viewed as transgressive, she finds that these figures
were popularly regarded as wholesome and regularly appeared
onscreen in the 1910s, thus lending greater respectability to the
fledgling film industry. Horak also explores how and why this
perception of cross-dressed women began to change in the 1920s and
early 1930s, examining how cinema played a pivotal part in the
representation of lesbian identity. Â Girls Will Be Boys
excavates a rich history of gender-bending film roles, enabling
readers to appreciate the wide array of masculinities that these
actresses performed—from sentimental boyhood to rugged virility
to gentlemanly refinement. Taking us on a guided tour through a
treasure-trove of vintage images, Girls Will Be Boys helps us view
the histories of gender, sexuality, and film through fresh eyes.
 Â
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