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Citizen Kane's reputation as one of the greatest films of all time
is matched only by the accumulation of critical commentary that
surrounds it. What more can there be to say about a masterpiece so
universally acknowledged? Laura Mulvey, in a fresh and original
reading, illuminates the richness of the film, both thematically
and stylistically, relating it to Welles's political background and
its historical context. In a lucid and perceptive critique she also
investigates the psychoanalytic structure that underlies the film's
presentation of Kane's biography, for once taking seriously what
Orson Welles himself disparagingly referred to as 'dollar-book
Freud.' In her foreword to this special edition, published to
celebrate the 20th anniversary of the BFI Film Classics series,
Laura Mulvey focuses on the film's politics, highlighting the
contemporary 'rhymes' in Kane's portrayal of a scandal-prone press
baron in a time of economic crisis.
Writer and film-maker Laura Mulvey is widely regarded as one of the
most challenging and incisive contemporary cultural theorists,
credited for incorporating film theory, psychoanalysis and
feminism. Part of the pathbeating 1970s generation of British film
theorists and independent film-makers, she came to prominence with
her classic essay on the pleasures - and displeasures - of
narrative cinema, 'Visual Pleasure and Narrative Cinema'. She went
on to make her own avant-garde films, co-directed with Peter
Wollen, and to write further, greatly influential works - including
this one.
"Fetishism and Curiosity" contains writings which range from
analyses of "Xala," "Citizen Kane" and "Blue Velvet," to an
extended engagement with the creations of Native American artist
Jimmie Durham and the feminist photographer Cindy Sherman. Essays
explore the concept of fetishism as developed by Marx and Freud,
and how it relates to the ways in which artistic texts work.
Mulvey returns to some of the knottier issues in contemporary
cultural theory, especially the links between looking, fantasy and
theorisation on the one hand, and the processes of historical
change on the other. What are the modes of address that
characterise 'societies of the spectacle'? How might 'curiosity' be
directed towards deciphering the politics of popular culture? These
are just some of the questions raised in this brilliant and subtle
collection.
Published as part of the BFI Silver series, this new edition of
Mulvey's classic work of feminist theory features a new, specially
commissioned introduction and stills from the films
discussed.
Writer and film-maker Laura Mulvey is widely regarded as one of the
most challenging and incisive contemporary cultural theorists,
credited for incorporating film theory, psychoanalysis and
feminism. Part of the pathbeating 1970s generation of British film
theorists and independent film-makers, she came to prominence with
her classic essay on the pleasures - and displeasures - of
narrative cinema, 'Visual Pleasure and Narrative Cinema'. She went
on to make her own avant-garde films, co-directed with Peter
Wollen, and to write further, greatly influential works - including
this one. Fetishism and Curiosity contains writings which range
from analyses of Xala, Citizen Kane and Blue Velvet, to an extended
engagement with the creations of Native American artist Jimmie
Durham and the feminist photographer Cindy Sherman. Essays explore
the concept of fetishism as developed by Marx and Freud, and how it
relates to the ways in which artistic texts work. Mulvey returns to
some of the knottier issues in contemporary cultural theory,
especially the links between looking, fantasy and theorisation on
the one hand, and the processes of historical change on the other.
What are the modes of address that characterise 'societies of the
spectacle'? How might 'curiosity' be directed towards deciphering
the politics of popular culture? These are just some of the
questions raised in this brilliant and subtle collection. Published
as part of the BFI Silver series, this new edition of Mulvey's
classic work of feminist theory features a new, specially
commissioned introduction and stills from the films discussed.
The 1970s was an enormously creative period for experimental film.
Its innovations and debates have had far-reaching and long-lasting
influence, with a resurgence of interest in the decade revealed by
new gallery events, film screenings and social networks that
recognise its achievements. Professor Laura Mulvey, and
writer/director Sue Clayton, bring together journalists and
scholars at the cutting edge of research into 1970s radical cinema
for this collection. Chapters are at once historically grounded yet
fused with the current analysis of today's generation of
cine-philes, to rediscover a unique moment for extraordinary film
production. Other Cinemas establishes the factors that helped to
shape alternative film: world cinema and internationalism, the
politics of cultural policy and arts funding, new accessible
technologies, avant-garde theories, and the development of a
dynamic and interactive relationship between film and its
audiences. Exploring and celebrating the work of The Other Cinema,
the London Film-makers' Co-op and other cornerstones of today's
film culture, as well as the impact of creatives such as William
Raban and Stephen Dwoskin - and Mulvey and Clayton themselves -
this important book takes account of a wave of socially aware film
practice without which today's activist, queer, minority and
feminist voices would have struggled to gather such volume.
Throughout its history, British television has found a place, if
only in its margins, for programmes that consciously worked to
expand the boundaries of television aesthetics. Even in the present
climate of increased academic interest in television history, its
experimental tradition has generally either been approached
generically or been lost within the assumption that television is
simply a mass medium. Avaible for the first time in paperback,
Experimental British television uncovers the history of
experimental television, bringing back forgotten programmes in
addition to looking at relatively more privileged artists or
programme strands from fresh perspectives. The book therefore goes
against the grain of dominant television studies, which tends to
place the medium within the flow of the 'everyday', in order to
scrutinise those productions that attempted to make more serious
interventions within the medium. -- .
The essays collected in this book reflect some of the commitments
and changes during the period that saw the women's movement shift
into feminism and the development of feminism's involvement with
the politics of representation, psychoanalytic film theory and
avant-garde aesthetics.;The essays also tell, implicitly, a
personal story - of someone gradually learning to express
themselves in writing through feminism and becoming visibly more
articulate over the course of time. Central to the collection is
Mulvey's famous polemic "Visual Pleasure and Narrative Cinema".
Mulvey has directed six films with Peter Wollen and is a major
British cultural theorist.
The innovations and debates in experimental film in the 1970s have
had far-reaching and long-lasting influence, with a resurgence of
interest in the decade revealed by new gallery events, film
screenings and social networks that recognise its achievements.
Professor Laura Mulvey, and writer/director Sue Clayton, bring
together journalists and scholars at the cutting edge of research
into 1970s radical cinema for this collection. Chapters are at once
historically grounded yet fused with the current analysis of
today's generation of cine-philes, to rediscover a unique moment
for extraordinary film production. Other Cinemas establishes the
factors that helped to shape alternative film: world cinema and
internationalism, the politics of cultural policy and arts funding,
new accessible technologies, avant-garde theories, and the
development of a dynamic and interactive relationship between film
and its audiences. Exploring and celebrating the work of The Other
Cinema, the London Film-makers' Co-op and other cornerstones of
today's film culture, as well as the impact of creatives such as
William Raban and Stephen Dwoskin - and Mulvey and Clayton
themselves - this important book takes account of a wave of
socially-aware film practice. Without this body of work, today's
activist, queer, minority and feminist voices in cinema would have
struggled to gather such impact.
This collection brings together an exciting group of established
and emerging scholars to consider the history of feminist film
theory and new developments in the field and in film culture
itself. Opening the field up to urgent questions and covering such
topics as new experimental film, the digital image, consumerism,
activism, and pornography, Feminisms will be essential reading for
scholars of both film and feminism.
This book marks a return for Laura Mulvey to questions of film
theory and feminism, as well as a reconsideration of new and old
film technologies. Its title, Afterimages, alludes to the
dislocation of time that runs through many of the films and works
in this book, and the way we view them. Structured in three main
parts the book begins with a section on the theme of woman as
spectacle. Part Two focuses on films drawn from different parts of
the world, directed by women and about women, and all adopting
radical cinematic strategies. In Part Three Mulvey considers moving
image works made for art galleries and argues that the aesthetics
of cinema have persisted into this environment. Afterimages also
features an appendix of ten frequently asked questions on her
classic feminist essay Visual Pleasure and Narrative Cinema, in
which Mulvey addresses questions of spectatorship crucial to our
era of #MeToo. An urgent and compelling book for anyone interested
in the power and pleasures of moving images.
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Mary Kelly, Volume 20 (Paperback)
Mignon Nixon; Contributions by Mary Kelly, Paul H. Smith, Helen Molesworth, Laura Mulvey, …
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R597
Discovery Miles 5 970
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Ships in 12 - 17 working days
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Essays and interviews that span Mary Kelly's career highlight the
artist's sustained engagement with feminism and feminist history.
When Mary Kelly's best-known work, Post-Partum Document
(1973-1979), was shown at the Institute of Contemporary Art in
London in 1976, it caused a sensation-an unexpected response to an
intellectually demanding and aesthetically restrained installation
of conceptual art. The reception signaled resistance to the work's
interrogation of feminine identity and the cultural mythologizing
of motherhood. This volume of essays and interviews begins with
this foundational work, offering an early statement by the artist,
a subsequent interview, and an essay situating the work within a
broader broader discourse of art and social purpose in the early
1970s. Throughout, the collection addresses such themes as labor,
war, trauma, and the politics of care, while emphasizing the
artist's sustained engagement with histories of feminism and
generations of feminists. The contributions also consider such
specific works as Kelly's Interim (1984-1989), the subject of a
special issue of October; Gloria Patri (1992), an installation
conceived in response to the first Gulf War; The Ballad of Kastriot
Rexhepi (2001), an extensive project including a 200-foot narrative
executed in the medium of compressed lint and the performance of a
musical score by Michael Nyman; and two recent works, Love Songs
(2005-2007), which explores the role of memory in feminist
politics, and Mimus (2012), a triptych that parodies the House
Un-American Activities Committee's 1962 investigation of the
pacifist group, Women Strike for Peace. Essays and Interviews by
Parveen Adams, Emily Apter, Rosalyn Deutsche, Hal Foster, Margaret
Iversen, Mary Kelly, Helen Molesworth, Laura Mulvey, Mignon Nixon,
Griselda Pollock, Paul Smith
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