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The advent of new screening practices and viewing habits in the
twenty-first century has spurred a public debate over what it means
to be a "cinephile." In Anxious Cinephilia, Sarah Keller places
these competing visions in historical and theoretical perspective,
tracing how the love of movies intertwines with anxieties over the
content and impermanence of cinematic images. Keller reframes the
history of cinephilia from the earliest days of film through the
French New Wave and into the streaming era, arguing that love and
fear have shaped the cinematic experience from its earliest days.
This anxious love for the cinema marks both institutional practices
and personal experiences, from the curation of the moviegoing
experience to the creation of community and identity through film
festivals to posting on social media. Through a detailed analysis
of films and film history, Keller examines how changes in cinema
practice and spectatorship create anxiety even as they inspire
nostalgia. Anxious Cinephilia offers a new theoretical approach to
the relationship between spectator and cinema and reimagines the
concept of cinephilia to embrace its diverse forms and its
uncertain future.
The advent of new screening practices and viewing habits in the
twenty-first century has spurred a public debate over what it means
to be a "cinephile." In Anxious Cinephilia, Sarah Keller places
these competing visions in historical and theoretical perspective,
tracing how the love of movies intertwines with anxieties over the
content and impermanence of cinematic images. Keller reframes the
history of cinephilia from the earliest days of film through the
French New Wave and into the streaming era, arguing that love and
fear have shaped the cinematic experience from its earliest days.
This anxious love for the cinema marks both institutional practices
and personal experiences, from the curation of the moviegoing
experience to the creation of community and identity through film
festivals to posting on social media. Through a detailed analysis
of films and film history, Keller examines how changes in cinema
practice and spectatorship create anxiety even as they inspire
nostalgia. Anxious Cinephilia offers a new theoretical approach to
the relationship between spectator and cinema and reimagines the
concept of cinephilia to embrace its diverse forms and its
uncertain future.
Maya Deren (1917--1961) was a Russian-born American filmmaker,
theorist, poet, and photographer working at the forefront of the
American avant-garde in the 1940s and 1950s. Influenced by Jean
Cocteau and Marcel Duchamp, she is best known for her seminal film
Meshes of the Afternoon (1943), a dream-like experiment with time
and symbol, looped narrative and provocative imagery, setting the
stage for the twentieth-century's groundbreaking aesthetic
movements and films.
Maya Deren assesses both the filmmaker's completed work and her
numerous unfinished projects, arguing Deren's overarching aesthetic
is founded on principles of incompletion, contingency, and
openness. Combining the contrasting approaches of documentary,
experimental, and creative film, Deren created a wholly original
experience for film audiences that disrupted the subjectivity of
cinema, its standards of continuity, and its dubious facility with
promoting categories of realism. This critical retrospective
reflects on the development of Deren's career and the productive
tensions she initiated that continue to energize film.
Maya Deren (1917--1961) was a Russian-born American filmmaker,
theorist, poet, and photographer working at the forefront of the
American avant-garde in the 1940s and 1950s. Influenced by Jean
Cocteau and Marcel Duchamp, she is best known for her seminal film
Meshes of the Afternoon (1943), a dream-like experiment with time
and symbol, looped narrative and provocative imagery, setting the
stage for the twentieth-century's groundbreaking aesthetic
movements and films.
Maya Deren assesses both the filmmaker's completed work and her
numerous unfinished projects, arguing Deren's overarching aesthetic
is founded on principles of incompletion, contingency, and
openness. Combining the contrasting approaches of documentary,
experimental, and creative film, Deren created a wholly original
experience for film audiences that disrupted the subjectivity of
cinema, its standards of continuity, and its dubious facility with
promoting categories of realism. This critical retrospective
reflects on the development of Deren's career and the productive
tensions she initiated that continue to energize film.
Barbara Hammer: Pushing Out of the Frame by Sarah Keller explores
the career of experimental filmmaker and visual artist Barbara
Hammer. Hammer first garnered attention in the early 1970s for a
series of films representing lesbian subjects and subjectivity.
Over the five decades that followed, she made almost a hundred
films and solidified her position as a pioneer of queer
experimental cinema and art. In the first chapter, Keller covers
Hammer's late 1960s-1970s work and explores the tensions between
the representation of women's bodies and contemporary feminist
theory. In the second chapter, Keller charts the filmmaker's
physical move from the Bay Area to New York City, resulting in
shifts in her artistic mode. The third chapter turns to Hammer's
primarily documentary work of the 1990s and how it engages with the
places she travels, the people she meets, and the histories she
explores. In the fourth chapter, Keller then considers Hammer's
legacy, both through the final films of her career-which combine
the methods and ideas of the earlier decades-and her efforts to
solidify and shape the ways in which the work would be remembered.
In the final chapter, excerpts from the author's interviews with
Hammer during the last three years of her life offer intimate
perspectives and reflections on her work from the filmmaker
herself. Hammer's full body of work as a case study allows readers
to see why a much broader notion of feminist production and
artistic process is necessary to understand art made by women in
the past half century. Hammer's work-classically queer and
politically feminist-presses at the edges of each of those notions,
pushing beyond the frames that would not contain her dynamic
artistic endeavors. Keller's survey of Hammer's work is a vital
text for students and scholars of film, queer studies, and art
history.
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A New Heart (Hardcover)
Thane Keller; Illustrated by Sarah Keller
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R555
Discovery Miles 5 550
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Ships in 10 - 15 working days
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Rogue Fleet (Paperback)
Thane Keller; Illustrated by Sarah Keller
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R360
R309
Discovery Miles 3 090
Save R51 (14%)
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Ships in 10 - 15 working days
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Trials (Paperback)
Sarah Keller; Edited by Kristin Leeman, Amber Axline
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R364
Discovery Miles 3 640
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Ships in 10 - 15 working days
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Barbara Hammer: Pushing Out of the Frame by Sarah Keller explores
the career of experimental filmmaker and visual artist Barbara
Hammer. Hammer first garnered attention in the early 1970s for a
series of films representing lesbian subjects and subjectivity.
Over the five decades that followed, she made almost a hundred
films and solidified her position as a pioneer of queer
experimental cinema and art. In the first chapter, Keller covers
Hammer's late 1960s-1970s work and explores the tensions between
the representation of women's bodies and contemporary feminist
theory. In the second chapter, Keller charts the filmmaker's
physical move from the Bay Area to New York City, resulting in
shifts in her artistic mode. The third chapter turns to Hammer's
primarily documentary work of the 1990s and how it engages with the
places she travels, the people she meets, and the histories she
explores. In the fourth chapter, Keller then considers Hammer's
legacy, both through the final films of her career-which combine
the methods and ideas of the earlier decades-and her efforts to
solidify and shape the ways in which the work would be remembered.
In the final chapter, excerpts from the author's interviews with
Hammer during the last three years of her life offer intimate
perspectives and reflections on her work from the filmmaker
herself. Hammer's full body of work as a case study allows readers
to see why a much broader notion of feminist production and
artistic process is necessary to understand art made by women in
the past half century. Hammer's work-classically queer and
politically feminist-presses at the edges of each of those notions,
pushing beyond the frames that would not contain her dynamic
artistic endeavors. Keller's survey of Hammer's work is a vital
text for students and scholars of film, queer studies, and art
history.
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