By Matthew Tinkcom, Amy Villarejo
Keyframes introduces the research of renowned cinema of Hollywood and past and responds to the transformative influence of cultural reviews on movie studies.
The members reconsider modern movie tradition utilizing principles and matters from feminism, queer idea, 'race' stories, reviews of nationalism, colonialism and post-colonialism, the cultural economies of fandom, spectator concept, and Marxism. Combining a movie reports specialize in the movie undefined, construction and expertise with a cultural stories research of intake and audiences, Keframes demonstrates the breadth of techniques now on hand for knowing renowned cinema. matters addressed include:
* learning Ripley and the 'Alien' films
* Pedagogy and Political Correctness in Martial Arts cinema
* Judy Garland fandom at the net
* Stardom and serial fantasies: Thomas Harris's 'Hannibal'
* Tom Hanks and the globalization of stars
* Queer Bollywood
* Jackie Chan and the Black connection
* '12 Monkeys', postmodernism and concrete area.
Read or Download Keyframes: Popular Cinema and Cultural Studies PDF
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Extra info for Keyframes: Popular Cinema and Cultural Studies
While her essays, in her previously mentioned book, Tendencies, take to task the psychoanalytic institution (what we discussed above as part of the historical/discursive sense of psychoanalysis) for its legitimation of homophobia, Sedgwick nonetheless circles frequently around the affect “shame” as central to queer identity-formation. And whether shame is privileged above other affects for queers, identity-formation must be central to understanding how we come to inhabit the contours of what we understand as queer bodies, how we live queer existences, how we afﬁrm queerness rather than reproduce hatred.
Instead of ﬁsts in the air as the sign of revolutionary fervor, we see an eyebrow raised over a glass of champagne, as one black man cruises 26 Judith Williamson, “Two Kinds of Otherness: Black Film and the Avant-garde,” Screen 4 (29) (1988), 111. 27 José Arroyo, “Isaac Julien: Look Back and Talk Back,” in Michael T. , Cinemas of the Black Diaspora: Diversity, Dependence and Oppositionality (Detroit: Wayne State University Press, 1995), 331. Introduction 29 another. Instead of a Soviet-inspired montage of the debased nature of American commodity culture (as in the epic Third Cinematic masterpiece, Hour of the Furnaces), we experience an homage to the links between the avant-garde and popular culture through visual quotations.
Many of the essays in this section, too, might well belong to a separate section on “history,” a term we would prefer not to deaden further by relegating it to a compartment of thought; instead, we would ask readers to keep alive an appreciation for both historical contingency (the chance nature of events) and for historical determination. If we learn from the essays we have included in this section that our habitual ways of organizing knowledge require overhauls, that our wisdom is partial and, more signiﬁcant, located, we ought to become better readers of the sections that follow.