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"America on Film: Representing Race, Class, Gender, and Sexuality
in the Movies, 2nd Edition" is a lively introduction to issues of
diversity as represented within the American cinema. Provides a
comprehensive overview of the industrial, socio-cultural, and
aesthetic factors that contribute to cinematic representations of
race, class, gender, and sexuality Includes over 100 illustrations,
glossary of key terms, questions for discussion, and lists for
further reading/viewing Includes new case studies of a number of
films, including "Crash, Brokeback Mountain, " and "Quinceanera"
Queer Cinema, The Film Reader examines the relationship between
cinematic representations of sexuality and their social,
historical, and industrial contexts. Clearly divided into an
introductory overview and four topic areas, the Reader explores how
recent critical thinking has approached queer sexualities in
relation to the cinema. The four sections discuss: Authorship -
examining the role of sexuality in the work of queer filmmakers
such as George Cukor, Dorothy Arzner, Barbara Hammer, and the
directors of New Queer Cinema Forms - exploring how genres such as
the horror film, the musical, film noir, and the animated film
construct queer cinematic spaces Camp - looking at how this
reception strategy and mode of textual production, initially
practised by pre-Stonewall queers, retains its critical charge even
in contemporary mainstream popular culture Reception - considering
three specific historical case-studies of how queer fans have
interacted with media texts from Judy Garland to Star Trek. The
Reader concludes with an essay that queerly rethinks classical gaze
theory and allows students and scholars of the subject to draw
their own conclusions in their studies.
The chroniclers of medieval Rus were monks, who celebrated the
divine services of the Byzantine church throughout every day. This
study is the first to analyze how these rituals shaped their
writing of the Rus Primary Chronicle, the first written history of
the East Slavs. During the eleventh century, chroniclers in Kiev
learned about the conversion of the Roman Empire by celebrating a
series of distinctively Byzantine liturgical feasts. When the
services concluded, and the clerics sought to compose a native
history for their own people, they instinctively drew on the sacred
stories that they sang at church. The result was a myth of
Christian origins for Rus - a myth promulgated even today by the
Russian government - which reproduced the Christian origins myth of
the Byzantine Empire. The book uncovers this ritual subtext and
reconstructs the intricate web of liturgical narratives that
underlie this foundational text of pre-modern Slavic civilization.
The chroniclers of medieval Rus were monks, who celebrated the
divine services of the Byzantine church throughout every day. This
study is the first to analyze how these rituals shaped their
writing of the Rus Primary Chronicle, the first written history of
the East Slavs. During the eleventh century, chroniclers in Kiev
learned about the conversion of the Roman Empire by celebrating a
series of distinctively Byzantine liturgical feasts. When the
services concluded, and the clerics sought to compose a native
history for their own people, they instinctively drew on the sacred
stories that they sang at church. The result was a myth of
Christian origins for Rus - a myth promulgated even today by the
Russian government - which reproduced the Christian origins myth of
the Byzantine Empire. The book uncovers this ritual subtext and
reconstructs the intricate web of liturgical narratives that
underlie this foundational text of pre-modern Slavic civilization.
From Thomas Edison's first cinematic experiments to contemporary
Hollywood blockbusters, Queer Images chronicles the representation
of lesbian, gay, bisexual, and queer sexualities over one hundred
years of American film. The most up-to-date and comprehensive book
of its kind, it explores not only the ever-changing images of queer
characters onscreen, but also the work of queer filmmakers and the
cultural histories of queer audiences. Queer Images surveys a wide
variety of films, individuals, and subcultures, including the work
of discreetly homosexual filmmakers during Hollywood's Golden Age;
classical Hollywood's (failed) attempt to purge "sex perversion"
from films; the development of gay male camp in Hollywood cinema;
queer exploitation films and gay physique films; the queerness of
1960s Underground Film practice; independent lesbian documentaries
and experimental films; cinematic responses to the AIDS crisis; the
rise and impact of New Queer Cinema; the growth of LGBT film
festivals; and how contemporary Hollywood deals with queer issues.
This entertaining and insightful book reveals how the meaning of
sexual identity-as reflected on the silver screen-has changed a
great deal over the decades, and it celebrates both the pioneers
and contemporary practitioners of queer film in America. Queer
Images is an essential volume for film buffs and anyone interested
in sexuality and culture.
Queer Cinema, The Film Reader examines the relationship between
cinematic representations of sexuality and their social,
historical, and industrial contexts. Clearly divided into an
introductory overview and four topic areas, the Reader explores how
recent critical thinking has approached queer sexualities in
relation to the cinema. The four sections discuss: Authorship -
examining the role of sexuality in the work of queer filmmakers
such as George Cukor, Dorothy Arzner, Barbara Hammer, and the
directors of New Queer Cinema Forms - exploring how genres such as
the horror film, the musical, film noir, and the animated film
construct queer cinematic spaces Camp - looking at how this
reception strategy and mode of textual production, initially
practised by pre-Stonewall queers, retains its critical charge even
in contemporary mainstream popular culture Reception - considering
three specific historical case-studies of how queer fans have
interacted with media texts from Judy Garland to Star Trek. The
Reader concludes with an essay that queerly rethinks classical gaze
theory and allows students and scholars of the subject to draw
their own conclusions in their studies.
Humphrey Bogart. Abbott and Costello. Judy Garland and Mickey
Rooney. John Wayne. Rita Hayworth and Betty Grable. Images of these
film icons conjure up a unique moment in cinema and history, one of
optimism and concern, patriotism and cynicism. "What Dreams Were
Made Of" examines the performers who helped define American cinema
in the 1940s, a decade of rapid and repeated upheaval for Hollywood
and the United States. Through insightful discussions of key films
as well as studio publicity and fan magazines, the essays in this
collection analyze how these actors and actresses helped lift
spirits during World War II, whether in service comedies, combat
films, or escapist musicals. The contributors, all major writers on
the stars and movies of this period, also explore how cultural
shifts after the war forced many stars to adjust to new outlooks
and attitudes, particularly in film noir. Together, they
represented the hopes and fears of a nation during turbulent times,
enacting on the silver screen the dreams of millions of moviegoers.
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