Download Keyframes: Popular Cinema and Cultural Studies by Matthew Tinkcom, Amy Villarejo PDF
By Matthew Tinkcom, Amy Villarejo
Keyframes introduces the learn of renowned cinema of Hollywood and past and responds to the transformative influence of cultural reviews on movie studies.
The individuals reconsider modern movie tradition utilizing principles and issues from feminism, queer idea, 'race' reviews, reviews of nationalism, colonialism and post-colonialism, the cultural economies of fandom, spectator concept, and Marxism. Combining a movie reviews specialise in the movie undefined, construction and know-how with a cultural experiences research of intake and audiences, Keframes demonstrates the breadth of techniques now on hand for figuring out well known 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 house.
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Extra info for Keyframes: Popular Cinema and Cultural Studies
These essays can therefore be understood as taking seriously Gayatri Chakravorty Spivak’s challenge1 to locate always the woman who is spoken for, and whether the fact of one woman’s speaking, say, in the location of American feminist intellectual work, has an impact on how such an argument tacitly assumes another woman elsewhere whose experiences cannot be encompassed in such a moment of theory. The point is not to censure, but to locate the woman who speaks and on what terms. Together, then, these essays ask about how, where, and to what ends images of women are produced and circulated; they help us to think about the relation of gender to genre (types of ﬁlms such as science ﬁction or documentary) and also about the protocols for reading ﬁlms closely.
It literally looks elsewhere; it seeks to open the hidden vaults of black collective memory, to explore the fact of Hughes’ homosexuality along with other “closeted” or ﬁnessed secrets of sexuality in the Harlem Renaissance. Neither a biography of Hughes nor a traditional period piece, Looking for Langston traverses, as does a dream, the distance between “now” (the late 1980s, HIV- and AIDS-related gay-bashing, urban gay life) and “then” (a remarkable but quashed moment of black cultural expression); it also trammels, in that temporal movement, distinctions between black and white, popular culture and avant-garde art and cinema, photography and ﬁlm, and poetry and prose.
22 In this passage, Hall is keen to see “black” in terms of its cultural construction, without having to make recourse to an essential ground (whether biological, historical, or otherwise). One can see the importance in such an argument: Hall is seeking to avoid any concept that would ground “black” experience in an eternal nature rather than a mutable culture. If race, in other words, simply “is” (naturalized, essentialized) and is for all time (eternal), then racism can’t be eliminated. The careful reader may, however, want to note how Hall’s own language slips: “ ‘black’ is essentially a politically and culturally constructed category” (our change of italics from the above citation).