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Author: Adam Lowenstein
Publisher: Columbia University Press
ISBN: 0231132476
Category : Horror films
Languages : en
Pages : 274
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Book Description
How the modern horror film has represented the social conflicts left in the wake of national trauma.
Author: Linnie Blake
Publisher: Manchester University Press
ISBN: 1847796850
Category : Literary Criticism
Languages : en
Pages : 264
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Book Description
The wounds of nations: Horror cinema, historical trauma and national identity explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has serious implications for the ways in which we conceive of ourselves both as gendered individuals and as members of a particular nation-state. Exploring a wide range of stylistically distinctive and generically diverse film texts, its analysis ranges from the body horror of the American 1970s to the avant-garde proclivities of German Reunification horror, from the vengeful supernaturalism of recent Japanese chillers and their American remakes to the post-Thatcherite masculinity horror of the UK and the resurgence of 'hillbilly' horror in the period following September 11th 2001. In each case, it is argued, horror cinema forces us to look again at the wounds inflicted on individuals, families, communities and nations by traumatic events such as genocide and war, terrorist outrage and seismic political change, wounds that are all too often concealed beneath ideologically expedient discourses of national cohesion. By proffering a radical critique of the nation-state and the ideologies of identity it promulgates, horror cinema is seen to offer us a disturbing, yet perversely life affirming, means of working through the traumatic legacy of recent times.
Author: Adam Lowenstein
Publisher: Columbia University Press
ISBN: 0231132476
Category : Horror films
Languages : en
Pages : 274
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Book Description
How the modern horror film has represented the social conflicts left in the wake of national trauma.
Author: Beata Piątek
Publisher:
ISBN: 9788323338246
Category : English fiction
Languages : en
Pages : 0
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Book Description
History, memory and trauma as well as their complex interrelations have been lying at the centre of interdisciplinary academic debates since the end of the previous century. These are also themes with which contemporary writers and other artists are increasingly preoccupied in their work. History, Memory, Trauma in Contemporary British and Irish Fiction is an attempt at analysing the relationship between history, memory and trauma in the selected novels of Pat Barker, Sebastian Barry, Kazuo Ishiguro and John Banville. The author examines the notion of memory in a variety of contexts: collective memory in the historical novels of Barker and Barry, individual memory as a foundation of the sense of self in the novels of Banville and Ishiguro, and traumatic memory in the novels of Barry and Ishiguro. By applying the theoretical framework of trauma studies to the work of those renowned writers, History, Memory, Trauma offers new interpretations of their novels. The author demonstrates that contemporary fiction moves beyond mere representation of trauma and engages the reader in the role of co-witness who enables the process of working through trauma.
Author: Sarah Godfrey
Publisher: EUP
ISBN: 9781474414142
Category : Performing Arts
Languages : en
Pages : 0
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Book Description
Explores British cinematic representations of masculinity.
Author: Austin Riede
Publisher:
ISBN: 9781940771656
Category : Literary Criticism
Languages : en
Pages : 322
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Book Description
Author: Jon Lewis
Publisher: Duke University Press
ISBN: 0822390132
Category : Performing Arts
Languages : en
Pages : 425
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Book Description
Film scholarship has long been dominated by textual interpretations of specific films. Looking Past the Screen advances a more expansive American film studies in which cinema is understood to be a social, political, and cultural phenomenon extending far beyond the screen. Presenting a model of film studies in which films themselves are only one source of information among many, this volume brings together film histories that draw on primary sources including collections of personal papers, popular and trade journalism, fan magazines, studio publications, and industry records. Focusing on Hollywood cinema from the teens to the 1970s, these case studies show the value of this extraordinary range of historical materials in developing interdisciplinary approaches to film stardom, regulation, reception, and production. The contributors examine State Department negotiations over the content of American films shown abroad; analyze the star image of Clara Smith Hamon, who was notorious for having murdered her lover; and consider film journalists’ understanding of the arrival of auteurist cinema in Hollywood as it was happening during the early 1970s. One contributor chronicles the development of film studies as a scholarly discipline; another offers a sociopolitical interpretation of the origins of film noir. Still another brings to light Depression-era film reviews and Production Code memos so sophisticated in their readings of representations of sexuality that they undermine the perception that queer interpretations of film are a recent development. Looking Past the Screen suggests methods of historical research, and it encourages further thought about the modes of inquiry that structure the discipline of film studies. Contributors. Mark Lynn Anderson, Janet Bergstrom, Richard deCordova, Kathryn Fuller-Seeley, Sumiko Higashi, Jon Lewis, David M. Lugowski, Dana Polan, Eric Schaefer, Andrea Slane, Eric Smoodin, Shelley Stamp
Author: Stephen Glynn
Publisher: Springer
ISBN: 1137558873
Category : Performing Arts
Languages : en
Pages : 272
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Book Description
Through close textual and contextual analysis of British films spanning a century, this book explores how pupils, teachers and secondary education in general have been represented on the British screen. The author addresses a number of topics including the nature of public (fee-paying) and state schooling; the values of special, single-sex and co-education; the role of male and female teachers; and the nature of childhood and adolescence itself. From the silents of Hitchcock to the sorcery of Harry Potter, British cinema’s continued explorations of school life highlights its importance in the nation’s everyday experience and imaginary landscape. Beyond this, the school film, varying in scope from low-budget exploitation to Hollywood-financed blockbusters, serves both as a prism through which one can trace major shifts in the British film industry and as a barometer of the social and cultural concerns of the cinema-going public. This applies especially for gender, race and, in all senses, class.
Author: Nick Lacey
Publisher: Bloomsbury Publishing
ISBN: 1137463864
Category : Performing Arts
Languages : en
Pages : 408
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Book Description
This core textbook offers a concise yet complete introduction to film, responding to shifts in the medium while addressing all of the main approaches that inform film studies. The rise of on demand internet-based video has transformed the way films are distributed and exhibited, with many previously unobtainable and obscure films becoming available for global audiences to view instantly. Interweaving historical and current theoretical approaches, Nick Lacey presents a tightly-focused and coherent overview of a discipline in transition, which can be read 'cover to cover' or in distinct chapters. With its original narrative line and student-oriented philosophy, the text greatly enriches student's appreciation of cinema, while equipping them with the essential skills and vocabulary to succeed in film studies. This is an ideal foundational text for all lecturers, undergraduate or A-level students of film and cinema studies, as well as enthusiasts of film and cinema looking for a comprehensive guide. New to this Edition: - Content reflecting the increasing importance of production contexts, in chapters focusing exclusively on the film business, distribution and exhibition - A more detailed chapter on representation and greater emphasis on audience - Updated content addressing the significance of transnational cinema, drawing on a more global, non-Hollywood range of film examples and case studies from Europe, Asia and Latin America - Text is broken up by a wider variety of film stills, representing world cinema from the classics to the latest in contemporary cinema
Author:
Publisher:
ISBN:
Category : Documentary films
Languages : en
Pages : 336
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Book Description
Author: Bhaskar Sarkar
Publisher: Duke University Press
ISBN: 0822392216
Category : Performing Arts
Languages : en
Pages : 385
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Book Description
What remains of the “national” when the nation unravels at the birth of the independent state? The political truncation of India at the end of British colonial rule in 1947 led to a social cataclysm in which roughly one million people died and ten to twelve million were displaced. Combining film studies, trauma theory, and South Asian cultural history, Bhaskar Sarkar follows the shifting traces of this event in Indian cinema over the next six decades. He argues that Partition remains a wound in the collective psyche of South Asia and that its representation on screen enables forms of historical engagement that are largely opaque to standard historiography. Sarkar tracks the initial reticence to engage with the trauma of 1947 and the subsequent emergence of a strong Partition discourse, revealing both the silence and the eventual “return of the repressed” as strands of one complex process. Connecting the relative silence of the early decades after Partition to a project of postcolonial nation-building and to trauma’s disjunctive temporal structure, Sarkar develops an allegorical reading of the silence as a form of mourning. He relates the proliferation of explicit Partition narratives in films made since the mid-1980s to disillusionment with post-independence achievements, and he discusses how current cinematic memorializations of 1947 are influenced by economic liberalization and the rise of a Hindu-chauvinist nationalism. Traversing Hindi and Bengali commercial cinema, art cinema, and television, Sarkar provides a history of Indian cinema that interrogates the national (a central category organizing cinema studies) and participates in a wider process of mourning the modernist promises of the nation form.
