Feminist Marxism and Cultural Politics in the Work of Dai Jinhua
Author: Jinhua Dai
Category: Performing Arts
Dai Jinhua is one of contemporary China's most influential cultural critics. This book presents a selection of her writings, with topics including Orientalism and the relationship between Mao Zedong and consumerism.
Adaptation and Other Futures of Shakespeare's Language
Author: S. Ryle
Category: Literary Criticism
Shakespeare, Cinema and Desire explores the desires and the futures of Shakespeare's language and cinematographic adaptations of Shakespeare. Tracing ways that film offers us a rich new understanding of Shakespeare, it highlights issues such as media technology, mourning, loss, the voice, narrative territories and flows, sexuality and gender.
India is home to Bollywood - the largest film industry in the world. Movie theaters are said to be the "temples of modern India," with Bombay producing nearly 800 films per year that are viewed by roughly 11 million people per day. In Bollywood Cinema, Vijay Mishra argues that Indian film production and reception is shaped by the desire for national community and a pan-Indian popular culture. Seeking to understand Bollywood according to its own narrative and aesthetic principles and in relation to a global film industry, he views Indian cinema through the dual methodologies of postcolonial studies and film theory. Mishra discusses classics such as Mother India (1957) and Devdas (1935) and recent films including Ram Lakhan (1989) and Khalnayak (1993), linking their form and content to broader issues of national identity, epic tradition, popular culture, history, and the implications of diaspora.
In the last decade, Spanish auteur Pedro Almodóvar has grown from critical darling of the film circuit scene to mainstream success. Frequently comic, often deadly serious, always visually glorious, his recent films range from the Academy Award-winning drama Talk to Her to the 2011 horror film The Skin I Live In. Though they are ambitious and varied in style, each is a distinctive innovation on the themes that have defined his work. Desire Unlimited is the classic film-by-film assessment of Almodóvar's oeuvre, now updated to include his most recent work. Still the only study of its kind in English, it vigorously confirms its original argument that beneath Almodóvar's genius for comedy and visual pleasure lies a filmmaker whose work deserves to be taken with the utmost seriousness. From the Hardcover edition.
Revolutionary Desire in Italian Cinema is the first book to draw on psychoanalytical concepts and film theories to examine the critical tendency of Italian cinema and the way in which auteur Italian filmmakers have expressed their counter-ideological thought and criticism against Italian society. The book examines how by being committed to Italian social reality, Italian cinema expresses a desire for revolt against the status quo and the dominant ideological order. Taking as case studies Bernardo Bertolucci’s Prima della rivoluzione, Marco Bellocchio’s I pugni in tasca, Pier Paolo Pasolini’s Porcile, Nanni Moretti’s Ecce Bombo and La messa è finita, the book relies on socio-historiographical theories through which Luana Ciavola discusses how plot and characters create a sense of revolt against the both social order and values such as family, religion and bourgeois ethics. The book confirms the central role of Italian cinema in a historical and political context, insofar as it includes a substantial background which highlights aspects of Italian history never considered before in a study on Italian cinema. Revolutionary Desire in Italian Cinema is aimed at academics, researchers, undergraduate and postgraduate students and all lovers of Italian cinema.
The first of its kind in English, this collection explores twenty one well established and lesser known female filmmakers from mainland China, Hong Kong, Taiwan, and the Chinese diaspora. Sixteen scholars illuminate these filmmakers' negotiations of local and global politics, cinematic representation, and issues of gender and sexuality, covering works from the 1920s to the present. Writing from the disciplines of Asian, women's, film, and auteur studies, contributors reclaim the work of Esther Eng, Tang Shu Shuen, Dong Kena, and Sylvia Chang, among others, who have transformed Chinese cinematic modernity. Chinese Women's Cinema is a unique, transcultural, interdisciplinary conversation on authorship, feminist cinema, transnational gender, and cinematic agency and representation. Lingzhen Wang's comprehensive introduction recounts the history and limitations of established feminist film theory, particularly its relationship with female cinematic authorship and agency. She also reviews critiques of classical feminist film theory, along with recent developments in feminist practice, altogether remapping feminist film discourse within transnational and interdisciplinary contexts. Wang's subsequent redefinition of women's cinema, and brief history of women's cinematic practices in modern China, encourage the reader to reposition gender and cinema within a transnational feminist configuration, such that power and knowledge are reexamined among and across cultures and nation-states.
Women, Desire, and Power in Italian Cinema offers, for the first time in Italian Cinema criticism, a contextual study of the representation of women in twentieth-century Italian films. Marga Cottino-Jones argues that the ways women are depicted on screen reflects a subconscious "sexual conservatism" typical of an Italian society rooted within a patriarchal ideology. The book then follows the slow but constant process of social awareness in the Italian society through women in film, especially after the 1950s. Comprehensive in scope, this book analyzes the films of internationally known male and female directors, such as Antonioni, Fellini, Rossellini, Visconti, Bertolucci, Benigni, Cavani, Wertmuller, Comencini, and Archibugi. Special consideration is given to the actresses and actors that have become the icons of Italian femininity and masculinity, such as Sofia Loren, Gina Lollobrigida, Silvana Mangano, Gian Carlo Giannini, Marcello Mastroianni, and Alberto Sordi.
Exploring the dead/alive figure in such films as The Ring, American Beauty , and The Elephant Man , Vincent Hausmann charts the spectacular reduction of psychic life and assesses calls for shoring up psychic/social spaces that transfer bodily drives to language.