History Films Women And Freuds Uncanny
Download History Films Women And Freuds Uncanny full books in PDF, epub, and Kindle. Read online free History Films Women And Freuds Uncanny ebook anywhere anytime directly on your device. Fast Download speed and no annoying ads. We cannot guarantee that every ebooks is available!
| Author | : Susan E. Linville |
| Publisher | : University of Texas Press |
| Total Pages | : 212 |
| Release | : 2004-06-01 |
| Genre | : Performing Arts |
| ISBN | : 9780292702691 |
History films were a highly popular genre in the 1990s, as Hollywood looked back at significant and troubling episodes from World War II, the Cold War era, and the techno-war in the Persian Gulf. As filmmakers attempted to confront and manage intractable elements of the American past, such as the trauma of war and the legacy of racism, Susan Linville argues that a surprising casualty occurred—the erasure of relevant facets of contemporary women's history. In this book, Linville offers a sustained critique of the history film and its reduction of women to figures of ambivalence or absence. Historicizing and adapting Freud's concept of the uncanny and its relationship to the maternal body as the first home, she offers theoretically sophisticated readings of the films Midnight Clear, Saving Private Ryan, The Thin Red Line, Nixon, Courage Under Fire, Lone Star, and Limbo. She also demonstrates that the uncanny is not only a source of anxiety but also potentially a progressive force for eroding nostalgic ideals of nation and gender. Linville concludes with a close reading of a recent 9/11 documentary, showing how the patterns and motifs of 1990s history films informed it and what that means for our future.
| Author | : Erin Mercer |
| Publisher | : Taylor & Francis |
| Total Pages | : 196 |
| Release | : 2023-08-25 |
| Genre | : Literary Criticism |
| ISBN | : 100093019X |
Offering an insightful examination of Stephen King’s fiction, this book utilises a psychoanalytical approach drawing on Freud’s theory of the uncanny. It demonstrates how entrenched King’s work is in a literary tradition influenced by psychoanalytic theory, as well as the ways that King evades and amends Freud. Such an approach positions King’s texts not simply as objects of interpretation that might yield latent meaning, but as producers of meaning. King can certainly be read through the lens of the uncanny, but this book also aims to consider the uncanny through the lens of King. Organised around specific elements of the uncanny that can be found in King’s fiction, this book explores the themes of death and the return of the dead, monstrosity, telepathy, inanimate objects becoming menacingly animate, and spooky children. Popular texts are considered, such as IT, The Shining, and Pet Sematary, as well as less discussed work, including The Institute, The Regulators and Desperation. The book’s central argument is that King’s uncanny motifs offer insightful commentary on what is repressed in contemporary culture and insist on the failure of scientific rationalism to explain the world. King’s uncanny imaginary rejects dualistic notions of an experiencing self in an inert physical world and insists that psychic experience is bound up with the environmental. This book will be of interest to students and scholars of contemporary and popular literature, gothic and horror studies, and cultural studies.
| Author | : Julia Erhart |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 233 |
| Release | : 2018-03-05 |
| Genre | : Performing Arts |
| ISBN | : 1786734265 |
Movies about significant historical personalities or landmark events like war seem to be governed by a set of unspoken rules for the expression of gender. Films by female directors featuring female protagonists appear to receive particularly harsh treatment and are often criticised for being too 'emotional' and incapable of expressing 'real' history. Through her examination of films from the United States, Europe, Australia and elsewhere, Julia Erhart makes powerful connections between the representational strategies of women directors such as Kathryn Bigelow, Ruth Ozeki and Alexandra von Grote and their concerns with exploring the past through the prism of the present. She also compellingly explores how historiographical concepts like valour, memory, and resistance are uniquely re-envisioned within sub-genres including biopics, historical documentaries, Holocaust movies, and movies about the 'War on Terror'. Gendering History on Screen will make an invaluable contribution to scholarship on historical film and women's cinema.
| Author | : E. Mercer |
| Publisher | : Springer |
| Total Pages | : 410 |
| Release | : 2011-05-09 |
| Genre | : Literary Criticism |
| ISBN | : 0230119093 |
This study of fiction produced in America in the decade following 1945 examines literature by writers such as Kerouac and Bellow. It examines how, though such fiction seemed to resolutely avoid the events and implications of World War II, it was still suffused with dread and suggestions of war in imagery and language.
| Author | : Alexandra M. Kokoli |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 239 |
| Release | : 2016-08-11 |
| Genre | : Philosophy |
| ISBN | : 1472514025 |
The Feminist Uncanny in Theory and Art Practice investigates the widely debated, deeply flawed yet influential concept of the uncanny through the lens of feminist theory and contemporary art practice. Not merely a subversive strategy but a cipher of the fraught but fertile dialogue between feminism and psychoanalysis, the uncanny makes an ideal vehicle for an arrangement marked by ambivalence and acts as a constant reminder that feminism and psychoanalysis are never quite at home with one another. The Feminist Uncanny begins by charting the uncanniness of femininity in foundational psychoanalytic texts by Ernst Jentsch, Sigmund Freud, Jacques Lacan and Mladen Dolar, and contextually introduces a range of feminist responses and appropriations by Hélène Cixous, Julia Kristeva and Sarah Kofman, among others. The book also offers thematically organised interpretations of famous artworks and practices informed by feminism, including Judy Chicago's Dinner Party, Faith Ringgold's story quilts and Susan Hiller's 'paraconceptualism', as well as less well-known practice, such as the Women's Postal Art Even (Feministo) and the photomontages of Maud Sulter. Dead (lexicalised) metaphors, unhomely domesticity, identity and (dis)identification, and the tension between family stories and art's histories are examined in and from the perspective of different artistic and critical practices, illustrating different aspects of the feminist uncanny. Through a 'partisan' yet comprehensive critical review of the fascinating concept of the uncanny, The Feminist Uncanny in Theory and Art Practice proposes a new concept, the feminist uncanny, which it upholds as one of the most enduring legacies of the Women's Liberation Movement in contemporary art theory and practice.
| Author | : Konstantinos P. Nikoloutsos |
| Publisher | : Classical Presences |
| Total Pages | : 391 |
| Release | : 2013-10 |
| Genre | : History |
| ISBN | : 0199678928 |
This volume examines cinematic representations of ancient Greek women from the realms of myth and history. It discusses how these female figures are resurrected on the big screen by different filmmakers during different historical moments, and are therefore embedded within a narrative which serves various purposes, depending on the director of the film, its screenwriters, the studio, the country of its origin, and the sociopolitical context at the time of its production. Using a diverse array of hermeneutic approaches (such as gender theory, feminist criticism, psychoanalysis, viewer-response theory, and personal voice criticism), the essays aim to cast light on cinema's investments in the classical past and decode the mechanisms whereby the women under examination are extracted from their original context and are brought to life to serve as vehicles for the articulation of modern ideas, concerns, and cultural trends. The volume thus aims to investigate not only how antiquity on the screen depicts, and in this process distorts, compresses, contests, and revises, antiquity on the page but also, more crucially, why the medium follows such eclectic representational strategies vis-à-vis the classical world.
| Author | : Jessica Hope Jordan |
| Publisher | : Cambria Press |
| Total Pages | : 282 |
| Release | : 2009 |
| Genre | : Biography & Autobiography |
| ISBN | : 1604976632 |
"In the first critical study of the sex goddess in film, Jessica Hope Jordan illustrates how Jean Harlow uses her sexualized body to "affect" and seduce viewers away from any primary identification with those characters and their plotlines that are supposed to lead the film, to identifying instead with the kind of sexual empowerment and self-possession her characters consistently display. Linking the idea of sexual empowerment to the filmic and public celebration of hyper-feminine sexuality, the book additionally covers previous feminist discussions of Mae West's performances as "feminist camp" to argue that West sought to both celebrate and embody for women viewers what she viewed as cultural ideals of femininity and women's sexuality. With Lana Turner and the "cinematic code," the book considers the many problems inherent in both the filmic and public celebration of hyper-feminine sexuality in relation to censorship and considers the effects of the Hays Code on hyper-feminine sexuality as depicted in film noir." "The book also importantly presents the first critical discussion of the actress Jayne Mansfield, suggesting that her 1950s open acceptance, celebration, and public promotion of her feminine sexuality, both onscreen and off, makes her not only a precursor of the more sexually liberated 60s, but also, like the other actresses discussed here, a kind of prescient performance artist, even theorist, of feminine sexuality in particular, and cultural ideas about sexuality more generally. Beyond recouping her image as feminist, the book demonstrates how the kind of desire aroused by the sex goddess, a desire which remains endlessly suspended, works as a supreme example of the aesthetic apparatus of cinema itself." --Book Jacket.
| Author | : Karen A. Ritzenhoff |
| Publisher | : Springer |
| Total Pages | : 506 |
| Release | : 2014-08-07 |
| Genre | : Social Science |
| ISBN | : 1137360720 |
Filmic constructions of war heroism have a profound impact on public perceptions of conflicts. Here, contributors examine the ways motifs of gender and heroism in war films are used to justify ideological positions, shape the understanding of the military conflicts, support political agendas and institutions, and influence collective memory.
| Author | : Sarah Whatley |
| Publisher | : Springer |
| Total Pages | : 343 |
| Release | : 2018-05-07 |
| Genre | : Performing Arts |
| ISBN | : 3319738178 |
This book explores the interplay between performing arts, intangible cultural heritage and digital environments through a compendium of essays on emerging practices and case studies, as well as critical, historical and theoretical perspectives. It features essays that engage with varied forms of intangible cultural heritage, from music and storytelling to dance, theatre and martial arts. Cases of digital technology interventions are provided from different geographical and cultural settings, from Europe to Asia and the Americas. Together, the collection reflects on the implications that digital interventions have on intangible cultural heritage engagements, its curation and transmission in diverse localities. The volume is a valuable resource for discovering the multiple ways in which cultural heritage is mediated through digital technologies, and engages with audiences, artists, users and researchers.
| Author | : Michael A. Chaney |
| Publisher | : Indiana University Press |
| Total Pages | : 274 |
| Release | : 2008 |
| Genre | : Art |
| ISBN | : 0253349443 |
Analyzing the impact of black abolitionist iconography on early black literature and the formation of black identity, Fugitive Vision examines the writings of Frederick Douglass, William Wells Brown, William and Ellen Craft, Harriet Jacobs, and the slave potter David Drake. Juxtaposing pictorial and literary representations, the book argues that the visual offered an alternative to literacy for current and former slaves, whose works mobilize forms of illustration that subvert dominant representations of slavery by both apologists and abolitionists. From a portrait of Douglass's mother as Ramses to the incised snatches of proverb and prophesy on Dave the Potter's ceramics, the book identifies a "fugitive vision" that reforms our notions of antebellum black identity, literature, and cultural production.
