Out Takes: Essays on Queer Theory and FilmEllis Hanson Duke University Press, 1999 - Počet stran: 364 This collection brings together the work of both film scholars and queer theorists to advance a more sophisticated notion of queer film criticism. While the "politics of representation" has been the focus of much previous gay and lesbian film criticism, the contributors to Out Takes employ the approaches of queer theory to move beyond conventional readings and to reexamine aspects of the cinematic gaze in relation to queer desire and spectatorship. The essays examine a wide array of films, including Calamity Jane, Rear Window, The Hunger, Heavenly Creatures, and Bound , and discuss such figures as Doris Day, Elizabeth Taylor, and Alfred Hitchcock. Divided into three sections, the first part reconsiders the construction of masculinity and male homoerotic desire--especially with respect to the role of women--in classic cinema of the 1940s and 1950s. The second section offers a deconstructive consideration of lesbian film spectatorship and lesbian representation. Part three looks at the historical trajectory of independent queer cinema, including works by H.D., Kenneth Anger, and Derek Jarman. By exploring new approaches to the study of sexuality in film, Out Takes will be useful to scholars in gay and lesbian studies, queer theory, and cinema studies. Contributors. Bonnie Burns, Steven Cohan, Alexander Doty, Lee Edelman, Michelle Elleray, Jim Ellis, Ellis Hanson, D. A. Miller, Eric Savoy, Matthew Tinkcom, Amy Villarejo, Jean Walton |
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... seen as his concealment of the scene of a crime ( the cutting up of a woman's body ) is incorporated into the filmic text , like the postcard that Thorwald has had sent to his apartment to look as if it came from his wife , expressly to ...
... seen as the trope under which this film organizes itself . The “ Deadwood stage , " then , not only anchors the western in its musical inflection but also establishes Calamity Jane's organization around stage spectacles , a structure ...
... seen outside it . The public space seems to exist out- side the symbology that defines the white and black characters that carry the moral argument of the film . Freed from symbology , the homosexual couple is allowed some life , a ...
Obsah
CONTENTS | 1 |
CRUISE CONTROL | 15 |
QUEERING THE REEL | 17 |
Autorská práva | |
Další části 13 nejsou zobrazeny.