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| Author | : Kate A. Baldwin |
| Publisher | : Duke University Press |
| Total Pages | : 364 |
| Release | : 2002-10-17 |
| Genre | : History |
| ISBN | : 9780822329909 |
DIVRe-examines the relations between African Americans and the Soviet Union from a more transnational perspective and shows how these relations were crucial in the formation of Black modernism./div
| Author | : Judith Mayne |
| Publisher | : Indiana University Press |
| Total Pages | : 274 |
| Release | : 1990-12-22 |
| Genre | : Performing Arts |
| ISBN | : 9780253115041 |
"[The Woman at the Keyhole is one] of the most significant contributions to feminist film theory sin ce the 1970s." -- SubStance "... this intelligent, eminently readable volume puts women's filmmaking on the main stage.... serves at once as introduction and original contribution to the debates structuring the field. Erudite but never obscure, effectively argued but not polemical, The Woman at the Keyhole should prove to be a valuable text for courses on women and cinema." -- The Independent When we imagine a "woman" and a "keyhole," it is usually a woman on the other side of the keyhole, as the proverbial object of the look, that comes to mind. In this work the author is not necessarily reversing the conventional image, but rather asking what happens when women are situated on both sides of the keyhole. In all of the films discussed, the threshold between subject and object, between inside and outside, between virtually all opposing pairs, is a central figure for the reinvention of cinematic narrative.
| Author | : Yulia Gradskova |
| Publisher | : Springer |
| Total Pages | : 199 |
| Release | : 2018-09-04 |
| Genre | : Social Science |
| ISBN | : 331999199X |
This book provides a new perspective through a closer look on “Other”, i.e. ethnic minority women defined by the Soviet documents as natsionalka. Applying decolonial theory and critical race and whiteness studies, the book analyzes archive documents, early Soviet films and mass publications in order to explore how the “emancipation” and “culturalization” of women of “culturally backward nations” was practiced and presented for the mass Soviet audience. Whilst the special focus of the book lies in the region between the Volga and the Urals (and Muslim women of the Central Eurasia), the Soviet emancipation practices are presented in the broader context of gendered politics of modernization in the beginning of the 20th century. The analysis of the Soviet documents of the 1920s-1930s not only subverts the Soviet story on “generous help” with emancipation of natsionalka through uncovering its imperial/colonial aspects, but also makes an important contribution to the studies of imperial domination and colonial politics. This book is addressed to all interested in Russian and Eurasian studies and in decolonial approach to gender history.
| Author | : Jeremy Hicks |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 207 |
| Release | : 2007-03-28 |
| Genre | : Performing Arts |
| ISBN | : 0857712241 |
Pioneer of political documentary and inventor of cinema verite, Dziga Vertov has exerted a decisive influence on directors from Eisenstein to Godard. Yet his reputation long rested upon a lone masterpiece, 'Man with a Movie Camera'. Recently, however Vertov has begun to be recognised as the creator of a body of innovative and distinct films and, as Jeremy Hicks argues, documentary as we know it today is unthinkable without the rediscovery of Vertov. This, the first book in English to cover the whole of Vertov's career, reveals him to be an auteur, allowing readers to combine the familiar and less familiar aspects of his filmmaking and thinking in a cohesive narrative. Jeremy Hicks demonstrates how Vertov draws on Soviet journalistic models for his transformation of newsreel into the new form of documentary film. Through analyses of "Cine-Pravda No 21" (Leninist Cine-Pravda), "Cine-Eye", "Forward Soviet!", "A Sixth Part of the Earth", "The Eleventh Year", "Man with a Movie Camera", "Enthusiasm", "Three Songs of Lenin", and "Lullaby", he shows how Vertov's greatest works combine authentic documentary footage ingeniously for tremendous rhetorical effect. Today, with the energetic revival of interest in documentary film, Vertov's reflexive and overtly partisan films are of great relevance; but they need to be better known and understood. This is the purpose of "Dziga Vertov - Defining Documentary Film".
| Author | : Lucy Fischer |
| Publisher | : Princeton University Press |
| Total Pages | : 262 |
| Release | : 2014-07-14 |
| Genre | : Performing Arts |
| ISBN | : 1400851599 |
Noting that motherhood is a common metaphor for film production, Lucy Fischer undertakes the first investigation of how the topic of motherhood presents itself throughout a wide range of film genres. Until now discussions of maternity have focused mainly on melodramas, which, along with musicals and screwball comedies, have traditionally been viewed as "women's" cinema. Fischer defies gender-based classifications to show how motherhood has played a fundamental role in the overall cinematic experience. She argues that motherhood is often treated as a site of crisis--for example, the mother being blamed for the ills afflicting her offspring--then shows the tendency of certain genres to specialize in representing a particular social or psychological dimension in the thematics of maternity. Drawing on social history and various cultural theories, Fischer first looks at Rosemary's Baby to show the prevalence of childbirth themes in horror films. In crime films (White Heat), she sees the linkage of male deviance and mothering. The Hand That Rocks the Cradle and The Guardian, both occult thrillers, uncover cultural anxieties about working mothers. Her discussion covers burlesques of male mothering, feminist documentaries on the mother-daughter relationship, trick films dealing with procreative metaphors, and postmodern films like High Heels, where fluid sexuality is the theme. These films tend to treat motherhood as a locus of irredeemable conflict, whereas History and Memory and High Tide propose a more sanguine, dynamic, and enabling view. Originally published in 1996. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
| Author | : Cynthia Lucia |
| Publisher | : John Wiley & Sons |
| Total Pages | : 516 |
| Release | : 2015-06-25 |
| Genre | : Performing Arts |
| ISBN | : 1118475119 |
From the American underground film to the blockbuster superhero, this authoritative collection of introductory and specialized readings explores the core issues and developments in American cinematic history during the second half of the twentieth-century through the present day. Considers essential subjects that have shaped the American film industry—from the impact of television and CGI to the rise of independent and underground film; from the impact of the civil rights, feminist and LGBT movements to that of 9/11. Features a student-friendly structure dividing coverage into the periods 1960-1975, 1976-1990, and 1991 to the present day, each of which opens with an historical overview Brings together a rich and varied selection of contributions by established film scholars, combining broad historical, social, and political contexts with detailed analysis of individual films, including Midnight Cowboy, Nashville, Cat Ballou, Chicago, Back to the Future, Killer of Sheep, Daughters of the Dust, Nothing But a Man, Ali, Easy Rider, The Conversation, The Texas Chain Saw Massacre, Longtime Companion, The Matrix, The War Tapes, the Batman films, and selected avant-garde and documentary films, among many others. Additional online resources, such as sample syllabi, which include suggested readings and filmographies, for both general and specialized courses, will be available online. May be used alongside American Film History: Selected Readings, Origins to 1960 to provide an authoritative study of American cinema from its earliest days through the new millennium
| Author | : Patrice Petro |
| Publisher | : Rutgers University Press |
| Total Pages | : 236 |
| Release | : 2002 |
| Genre | : Performing Arts |
| ISBN | : 9780813529967 |
The beginning of this century has brought with it a host of assumptions about the newness of our technologies, globalized economies, and transnational media practices. Our own time is a period marked by experiences of fragmentation, sensation, and shock. The essays here are joined by a common concern to chart another side to modernity--precisely after the shock of the new--when the new ceases to be shocking, and when the extraordinary and the sensational become linked to the boring and the everyday. Patrice Petro explores how the mechanisms of modernism, German cinema, and feminist film theory have evolved, and she discusses the directions in which they are headed. Petro's essays--some published here for the first time--raise such questions as: What roles do television and other media play in film studies? What is the place of feminist film theory in our conceptions of film history? How is German film theory situated within international film theory? Rather than continue to sensationalize sensation, Aftershocks of the New aims to lower the volume of debates over the place of cinema within the culture of modernity. And it accomplishes this by locating them within a more complex matrix of contending sensibilities, voices, and impulses.
| Author | : Judith Mayne |
| Publisher | : Indiana University Press |
| Total Pages | : 228 |
| Release | : 1994 |
| Genre | : Biography & Autobiography |
| ISBN | : 9780253208965 |
Dorothy Arzner was the exception in Hollywood film history—the one woman who succeeded as a director, in a career that spanned three decades. In Part One, Dorothy Arzner's film career—her work as a film editor to her directorial debut, to her departure from Hollywood in 1943—is documented, with particular attention to Arzner's roles as "star-maker" and "woman's director." In Part Two, Mayne analyzes a number of Arzner's films and discusses how feminist preoccupations shape them, from the women's communities central to Dance, Girl, Dance and The Wild Party to critiques of the heterosexual couple in Christopher Strong and Craig's Wife. Part Three treats Arzner's lesbianism and the role that desire between women played in her career, her life, and her films.
| Author | : Lora Mjolsness |
| Publisher | : Academic Studies PRess |
| Total Pages | : 239 |
| Release | : 2021-02-02 |
| Genre | : Performing Arts |
| ISBN | : 1644690675 |
She Animates examines the work of twelve female animation directors in the Soviet Union and Russia, who have long been overlooked by film scholars and historians. Our approach examines these directors within history, culture, and industrial practice in animation. In addition to making a case for including these women and their work in the annals of film and animation history, this volume also makes an argument for why their work should be considered part of the tradition of women’s cinema. We offer textual analysis that focuses on the changing attitudes towards both the woman question and feminism by examining the films in light of the emergence and evolution of a Soviet female subjectivity that still informs women’s cinema in Russia today.
| Author | : Dianne Hunter |
| Publisher | : University of Illinois Press |
| Total Pages | : 268 |
| Release | : 1989 |
| Genre | : Literary Criticism |
| ISBN | : 9780252060632 |
Sexton, Anne; Dietrich, Marlene; Freud; Lacan.
