Keyframes introduces the research of well known cinema of Hollywood and past and responds to the transformative impression of cultural reports on movie studies.
The members reconsider modern movie tradition utilizing rules and issues from feminism, queer conception, 'race' stories, reviews of nationalism, colonialism and post-colonialism, the cultural economies of fandom, spectator conception, and Marxism. Combining a movie reports specialise in the movie undefined, creation and expertise with a cultural reports research of intake and audiences, Keframes demonstrates the breadth of ways now on hand for knowing renowned cinema. topics 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 house.
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Additional resources for Keyframes: Popular Cinema and Cultural Studies
We usually say, “What I suggest is largely that . . . ” and through “essentially” we do suggest to get all the way down to a few floor. all of us inhabit a few perspectives of the realm which are grounded on essentialism. The query is, what floor, and whilst is this sort of flow risky? This latter query preoccupies present paintings on race and ethnicity in addition to on gender and sexuality, and has confirmed to be a sticky one. there are many obvious routes out of the essentialist/constructivist debates, the main quick between them a shift in phrases. as a result the proliferation of discussions of hybridity (the crossfertilization of a couple of subject-positions right now: Nigerian-British, black feminist, homosexual Taiwanese); of mestizaje (a Chicano time period for “mixing”); of translation (a time period preferred by means of corridor in addition to theorist Homi Bhabha); or, ﬁnally, of the language of crossing borders, deep ambivalence, multiplicity, distinction, and so forth. A slower direction, yet a efficient one specifically together with the coining of recent ideas and metaphors, is the historic one: one outfitted, as our dialogue of Antonio Gramsci’s paintings indicates, at the identiﬁcation of what he referred to as “conjunctures” and their trajectories. 22 Ibid. , 443. creation 27 Julien and Mercer are conjunctural thinkers, indebted back to Stuart corridor in his dialogue of “Gramsci’s relevance for the learn of race and ethnicity. ”23 They urge political feedback through rejecting the “celebratory” mode of reception: as corridor places it, “[f]ilms should not unavoidably reliable simply because black humans lead them to. they aren't unavoidably ‘righton’ via advantage of the truth that they care for the black event. ”24 They reject either a “one-sided” ﬁxation with marginality that retains race in “special matters” and assumes that “ethnicity belongs to the opposite alone,”25 whereas even as they reject a unitary inspiration of blackness (or ethnicity extra more often than not) that smothers its inner changes and cultural and social speciﬁcity. there's not one racism yet many, there's not one ethnicity yet many over the years, there's not one problem to dominant discourses yet many, and there are both many (in Gayatri Spivak’s word) “epistemic violences” (violences on the point of proposal) that these discourses have wrought. We go back to the matter of what to do with those multiplicities. Diaspora, postcoloniality, subalternity Isaac Julien’s 1989 ﬁlm, trying to find Langston (Fig. I. 2), refracts “blackness” like a prism, refusing a unitary idea of racial (and, for that topic, ethnic or sexual) different types: black tradition, either black British and African-American, glimmers in its elements as a fancy historical past, seductive either in its surface’s sheen in addition to within the substance of its political and aesthetic productions. What “ofﬁcial” black background denies, gay hope, the ﬁlm afﬁrms in abundance; no matter what such a lot would need to determine as separate, the ﬁlm conjoins. Julien hence “meditates” (as he tells us in an introductory intertitle) upon the Harlem Renaissance which will generate a number of connections (Britain and the USA, white and black, immediately and gay), connections that in addition introduce queerness into the folds of diaspora (by diaspora, we suggest a group of universal starting place violently dispelled and dispersed).