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Twenty-first century media has increasingly turned to provocative
sexual content to generate buzz and stand out within a glut of
programming. New distribution technologies enable and amplify these
provocations, and encourage the branding of media creators as
"provocauteurs" known for challenging sexual conventions and
representational norms. While such strategies may at times be no
more than a profitable lure, the most probing and powerful
instances of sexual provocation serve to illuminate, question, and
transform our understanding of sex and sexuality.
In Provocauteurs and Provocations, award-winning author
Maria San Filippo looks at the provocative in films, television
series, web series and videos, entertainment industry publicity
materials, and social media discourses and explores its potential
to create alternative, even radical ways of screening sex.Â
Throughout this edgy volume, San Filippo reassesses troubling
texts and divisive figures, examining controversial
strategies—from "real sex" scenes to scandalous marketing
campaigns to full-frontal nudity—to reveal the critical role that
sexual provocation plays as an authorial signature and promotional
strategy within the contemporary media landscape.
Twenty-first century media has increasingly turned to provocative
sexual content to generate buzz and stand out within a glut of
programming. New distribution technologies enable and amplify these
provocations, and encourage the branding of media creators as
"provocauteurs" known for challenging sexual conventions and
representational norms. While such strategies may at times be no
more than a profitable lure, the most probing and powerful
instances of sexual provocation serve to illuminate, question, and
transform our understanding of sex and sexuality.
In Provocauteurs and Provocations, award-winning author
Maria San Filippo looks at the provocative in films, television
series, web series and videos, entertainment industry publicity
materials, and social media discourses and explores its potential
to create alternative, even radical ways of screening sex.Â
Throughout this edgy volume, San Filippo reassesses troubling
texts and divisive figures, examining controversial
strategies—from "real sex" scenes to scandalous marketing
campaigns to full-frontal nudity—to reveal the critical role that
sexual provocation plays as an authorial signature and promotional
strategy within the contemporary media landscape.
Often disguised in public discourse by terms like "gay,"
"homoerotic," "homosocial," or "queer," bisexuality is strangely
absent from queer studies and virtually untreated in film and media
criticism. Maria San Filippo aims to explore the central role
bisexuality plays in contemporary screen culture, establishing its
importance in representation, marketing, and spectatorship. By
examining a variety of media genres including art cinema,
sexploitation cinema and vampire films, "bromances," and series
television, San Filippo discovers "missed moments" where bisexual
readings of these texts reveal a more malleable notion of
subjectivity and eroticism. San Filippo's work moves beyond the
subject of heteronormativity and responds to "compulsory
monosexuality," where it's not necessarily a couple's gender that
is at issue, but rather that an individual chooses one or the
other. The B Word transcends dominant relational formation (gay,
straight, or otherwise) and brings a discursive voice to the field
of queer and film studies.
Premiering at Sundance in 2014, Desiree Akhavan's acclaimed debut
feature, Appropriate Behavior, introduced the indie film world to
the deadpan, irreverent wit that had already won over fans of her
trailblazing LGBTQ web series The Slope. The first volume in the
Queer Film Classics series to spotlight a work by and about a
bisexual woman of colour, this book explores Appropriate Behavior
as an instant classic of US indie filmmaking in the 2010s, as a
radical reappropriation of straight and gay film genres, as an
artist's coming-of-age story, and as a model for feminist-queer
creative collaboration. Less than a decade old, Appropriate
Behavior captures an urban queer community imperilled by
gentrification and homonormativity and serves as exemplar of an
innovative wave of independent cinema not yet subsumed by the
streaming economy. Maria San Filippo explores how filmmaker and
film render a singular voice and story that queers not only its
celebrated romcom predecessors but also the gay coming-out film and
the lesbian romance alike. The book concludes with an interview
with Akhavan. San Filippo pays special tribute to Akhavan's
audacious sensibility and the "inbetweener" moxie that makes
Appropriate Behavior an unparalleled portrayal of bisexuality.
HBO's Girls and the Awkward Politics of Gender, Race, and Privilege
is a collection of essays that examines the HBO program Girls.
Since its premiere in 2012, the series has garnered the attention
of individuals from various walks of life. The show has been
described in many terms: insightful, out-of-touch, brash, sexist,
racist, perverse, complex, edgy, daring, provocative-just to name a
few. Overall, there is no doubt that Girls has firmly etched itself
in the fabric of early twenty-first-century popular culture. The
essays in this book examine the show from various angles including:
white privilege; body image; gender; culture; race; sexuality;
parental and generational attitudes; third wave feminism; male
emasculation and immaturity; hipster, indie, and urban music as it
relates to Generation Y and Generation X. By examining these
perspectives, this book uncovers many of the most pressing issues
that have surfaced in the show, while considering the broader
societal implications therein.
In defiance of the alleged "death of romantic comedy," After
"Happily Ever After": Romantic Comedy in the Post-Romantic Age
edited by Maria San Filippo attests to rom-com's continuing
vitality in new modes and forms that reimagine and rejuvenate the
genre in ideologically, artistically, and commercially innovative
ways. No longer the idyllic fairy tale, today's romantic comedies
ponder the realities and complexities of intimacy, fortifying the
genre's gift for imagining human connection through love and
laughter. It has often been observed that the rom-com's "happily
ever after" trope enables the genre to avoid addressing the
challenges of coupled life. This volume's contributors confront how
recent rom-coms contend with a "post-romantic age" of romantic
disillusionment and seismically shifting emotional and relational
bonds. Fifteen chapters contemplate the resurgence of the "radical
romantic comedy" and uncoupling comedy, new approaches in genre
hybridity and serial narrative, and how recent rom-coms deal with
divisive topical issues and contemporary sexual mores from
reproductive politics and marriage equality to hook-up culture and
technology-enabled sex. Rom-coms remain underappreciated and
underexamined-and still largely defined within Hollywood's
parameters of culturally normative coupling and its persistent
marginalization of racial and sexual minorities. Making the case
for taking romantic comedy seriously, this volume employs critical
perspectives drawn from feminist, queer, postcolonial, and race
studies to critique the genre's homogeneity and social and sexual
conservatism, recognizing innovative works inclusive of LGBTQ
people, people of color, and the differently aged and abled.
Encompassing a rich range of screen media from the last decade,
After "Happily Ever After" celebrates works that disrupt and
subvert rom-com fantasy and formula so as to open audience's eyes
along with our hearts. This volume is intended for all readers with
an interest in film, media, and gender studies.
Often disguised in public discourse by terms like "gay,"
"homoerotic," "homosocial," or "queer," bisexuality is strangely
absent from queer studies and virtually untreated in film and media
criticism. Maria San Filippo aims to explore the central role
bisexuality plays in contemporary screen culture, establishing its
importance in representation, marketing, and spectatorship. By
examining a variety of media genres including art cinema,
sexploitation cinema and vampire films, "bromances," and series
television, San Filippo discovers "missed moments" where bisexual
readings of these texts reveal a more malleable notion of
subjectivity and eroticism. San Filippo's work moves beyond the
subject of heteronormativity and responds to "compulsory
monosexuality," where it's not necessarily a couple's gender that
is at issue, but rather that an individual chooses one or the
other. The B Word transcends dominant relational formation (gay,
straight, or otherwise) and brings a discursive voice to the field
of queer and film studies.
In defiance of the alleged "death of romantic comedy," After
"Happily Ever After": Romantic Comedy in the Post-Romantic Age
edited by Maria San Filippo attests to rom-com's continuing
vitality in new modes and forms that reimagine and rejuvenate the
genre in ideologically, artistically, and commercially innovative
ways. No longer the idyllic fairy tale, today's romantic comedies
ponder the realities and complexities of intimacy, fortifying the
genre's gift for imagining human connection through love and
laughter. It has often been observed that the rom-com's "happily
ever after" trope enables the genre to avoid addressing the
challenges of coupled life. This volume's contributors confront how
recent rom-coms contend with a "post-romantic age" of romantic
disillusionment and seismically shifting emotional and relational
bonds. Fifteen chapters contemplate the resurgence of the "radical
romantic comedy" and uncoupling comedy, new approaches in genre
hybridity and serial narrative, and how recent rom-coms deal with
divisive topical issues and contemporary sexual mores from
reproductive politics and marriage equality to hook-up culture and
technology-enabled sex. Rom-coms remain underappreciated and
underexamined-and still largely defined within Hollywood's
parameters of culturally normative coupling and its persistent
marginalization of racial and sexual minorities. Making the case
for taking romantic comedy seriously, this volume employs critical
perspectives drawn from feminist, queer, postcolonial, and race
studies to critique the genre's homogeneity and social and sexual
conservatism, recognizing innovative works inclusive of LGBTQ
people, people of color, and the differently aged and abled.
Encompassing a rich range of screen media from the last decade,
After "Happily Ever After" celebrates works that disrupt and
subvert rom-com fantasy and formula so as to open audience's eyes
along with our hearts. This volume is intended for all readers with
an interest in film, media, and gender studies.
HBO's Girls and the Awkward Politics of Gender, Race, and Privilege
is a collection of essays that examines the HBO program Girls.
Since its premiere in 2012, the series has garnered the attention
of individuals from various walks of life. The show has been
described in many terms: insightful, out-of-touch, brash, sexist,
racist, perverse, complex, edgy, daring, provocative-just to name a
few. Overall, there is no doubt that Girls has firmly etched itself
in the fabric of early twenty-first-century popular culture. The
essays in this book examine the show from various angles including:
white privilege; body image; gender; culture; race; sexuality;
parental and generational attitudes; third wave feminism; male
emasculation and immaturity; hipster, indie, and urban music as it
relates to Generation Y and Generation X. By examining these
perspectives, this book uncovers many of the most pressing issues
that have surfaced in the show, while considering the broader
societal implications therein.
Over the past decade, as digital media has expanded and print
outlets have declined, pundits have bemoaned a “crisis of
criticism” and mourned the “death of the critic.” Now that
well-paying jobs in film criticism have largely evaporated, while
blogs, message boards, and social media have given new meaning to
the saying that “everyone’s a critic,” urgent questions have
emerged about the status and purpose of film criticism in the
twenty-first century.  In Film Criticism in the
Digital Age, ten scholars from across the globe come together to
consider whether we are witnessing the extinction of serious film
criticism or seeing the start of its rebirth in a new form. Drawing
from a wide variety of case studies and methodological
perspectives, the book’s contributors find many signs of the film
critic’s declining clout, but they also locate surprising
examples of how critics—whether moonlighting bloggers or salaried
writers—have been able to intervene in current popular discourse
about arts and culture. Â In addition to collecting a plethora
of scholarly perspectives, Film Criticism in the Digital Age
includes statements from key bloggers and print critics, like
Armond White and Nick James. Neither an uncritical celebration of
digital culture nor a jeremiad against it, this anthology offers a
comprehensive look at the challenges and possibilities that the
Internet brings to the evaluation, promotion, and explanation of
artistic works.   Â
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