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.
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.
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.
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.
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.
Regulation, Repression, and Race in the Classical Hollywood Era
Author: Ellen C. Scott
Publisher: Rutgers University Press
Category: Performing Arts
From Al Jolson in blackface to Song of the South, there is a long history of racism in Hollywood film. Yet as early as the 1930s, movie studios carefully vetted their releases, removing racially offensive language like the “N-word.” This censorship did not stem from purely humanitarian concerns, but rather from worries about boycotts from civil rights groups and loss of revenue from African American filmgoers. Cinema Civil Rights presents the untold history of how Black audiences, activists, and lobbyists influenced the representation of race in Hollywood in the decades before the 1960s civil rights era. Employing a nuanced analysis of power, Ellen C. Scott reveals how these representations were shaped by a complex set of negotiations between various individuals and organizations. Rather than simply recounting the perspective of film studios, she calls our attention to a variety of other influential institutions, from protest groups to state censorship boards. Scott demonstrates not only how civil rights debates helped shaped the movies, but also how the movies themselves provided a vital public forum for addressing taboo subjects like interracial sexuality, segregation, and lynching. Emotionally gripping, theoretically sophisticated, and meticulously researched, Cinema Civil Rights presents us with an in-depth look at the film industry’s role in both articulating and censoring the national conversation on race.
With four additional chapters and original film stills, this new edition is the only study of its kind in English. The author argues that beneath Almodovar's genius for comedy and visual pleasure lies a filmmaker who deserves to be taken seriously.