A Feminist Reader in Early Cinema: A Camera Obscura book
Autor Jennifer M. Bean, Diane Negraen Limba Engleză Paperback – 20 noi 2002
Reflecting the stimulating diversity of early cinematic styles, technologies, and narrative forms, essays address a range of topics--from the dangerous sexuality of the urban" flaneuse" to the childlike femininity exemplified by Mary Pickford, from the Shanghai film industry to Italian diva films--looking along the way at birth-control sensation films, French crime serials, "war actualities," and the stylistic influence of art deco. Recurring throughout the volume is the protean figure of the New Woman, alternately garbed as childish tomboy, athletic star, enigmatic vamp, languid diva, working girl, kinetic flapper, and primitive exotic.
"Contributors." Constance Balides, Jennifer M. Bean, Kristine Butler, Mary Ann Doane, Lucy Fischer, Jane Gaines, Amelie Hastie, Sumiko Higashi, Lori Landay, Anne Morey, Diane Negra, Catherine Russell, Siobhan B. Somerville, Shelley Stamp, Gaylyn Studlar, Angela Dalle Vacche, Radha Vatsal, Kristen Whissel, Patricia White, Zhang Zhen
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Specificații
ISBN-13: 9780822329992
ISBN-10: 0822329999
Pagini: 592
Ilustrații: 62 illustrations
Dimensiuni: 167 x 233 x 37 mm
Greutate: 0.91 kg
Editura: MD – Duke University Press
Seria A Camera Obscura book
ISBN-10: 0822329999
Pagini: 592
Ilustrații: 62 illustrations
Dimensiuni: 167 x 233 x 37 mm
Greutate: 0.91 kg
Editura: MD – Duke University Press
Seria A Camera Obscura book
Cuprins
IntroductionTowards a Feminist Historiography of Early Cinema Jennifer M. Bean, University of Washington-SeattleI Reflecting Film AuthorshipCircuits of Memory and History: The Memoirs of Alice Guy--Blaché Amelie Hastie, University of California, Santa CruzNazimova's Veils: Salome at the Intersection of Film Histories Patricia White, Swarthmore CollegeOf Cabbages and Authors Jane Gaines, Duke UniversityReevaluating Footnotes: Women Filmmakers of the Silent Era Radha VatsalII Ways of LookingThe Gender of Empire: American Modernity, Masculinity and Edison's War Actualities Kristen Whissel, University of Michigan, Ann ArborMaking Ends Meet: "Welfare Films" and the Politics of Consumption During the Progressive Era Constance Balides, Tulane UniversiytIrma Vep, Vamp in the City: Mapping the Criminal Feminine in Early French Serials Kristine Butler, University of Wisconsin, River FallsThe Flapper Film: Comedy, Dance and Jazz Age Kinaesthetics Lori Landay, Berklee College of Music, BostonIII Cultual InversionsThe Queer Career of Jim Crow: Racial and Sexual Transformation in A Florida Enchantment Siobhan B. Somerville, Purdue UniversityTaking Precautions, or Contraceptive Technology and Cinema's Regulatory Apparatus Shelley Starnp, University of California, Santa CruzThe New Woman and Consumer Culture: Cecil B. DeMille's Sex Comedies Sumiko Higashi, State University of New York, Brockport'So Real As to Seem Like Life Itself': The Photoplay Fiction of Adela Rogers St. Johns Anne Morey, Texas A&M UniversityIV. Performing BodiesOh, "Doll Divine". Mary Pickford, Masquerade, and the Pedophilic Gaze Gaylyn Studlar, University of Michigan, Ann ArborImmigrant Stardom in Imperial America: Pola Negri and the Problem of Typology Diane Negra, University of North TexasTechnologies of Early Stardom and the Extraordinary Body Jennifer M. Bean, University of Washington-SeattleFemininity in Flight: Androgyny and Gynandry in Early Silent Italian Cinema Angela Dalle Vacche, Georgia Instiute of TechnologyGreta Garbo and Silent Cinema: The Actress as Art Deco Icon Lucy Fischer, University of PittsburghV. The Problem with PeriodizationAmorous History of the Silver Screen: Women as Vernacular Embodiment in Early Chinese Film Culture Zhen Zhang, New York UniversityTechnology's Body: Cinematic Vision in Modernity Mary Ann Doane, Brown UniversityParallax Historiography: the Flâneuse as Cyberfeminist Catherine Russell , Concordia University, Montreal
Recenzii
Drawing extensively on archival research, the collections yields startling accounts of womens multiple roles as early producers, directors, writers, stars, and viewers. It also engages urgent questions about cinemas capacity for presenting a stable visual field, often at the expense of racially, sexually, or classmarked bodies.Mev Miller, Feminist Academic Press Column[T]his book covers rich ground. . . . [F]ilm historians and feminist media scholars will want to own this book. In addition, the book provides links between the escape of women from the cultural constraints of nineteenth century and the evolution of film in the twentieth. In doing so, it provides a perspective from which ideological inquires may be framed.Mark Goodman, Journal of Film and Video[A] richly detailed and kaleidoscopic vision of gender as filtered through the lens of the early film industry. . . .Linda S. Coleman, The Journal of American CultureEvery reader will find their own favourites in this smorgasbord. . . . If your own interest in early cinema is already established, you will find something stimulating and provocative here, in the wide range of topics and approaches on offer. If you are just entering this territory, this collection provides a rich selection to whet your appetite for further explorations.Ina Bertrand, Screening the PastAlso reviewed in CHOICE. Listed in Film Comment, Womens Review of Books, and boundary 2.
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"This collection is a persuasive reminder that the hottest current topics in film theory--cultural intersections, questions of authorship, fantasy and technology, representation and the body--demand and are illuminated by feminist inquiry."-- Linda Mizejewski, author of "Ziegfeld Girl: Image and Icon in Culture and Cinema"
Notă biografică
Descriere
The first anthology in a rapidly expanding area of cinema studies.