Hollywood from Vietnam to Reagan
Paul Bove Marcia Landy. Marcia Landy reassesses Antonio Gramsci's politics in the light of contemporary Marxist critiques of mass culture. Unlike other studies of Gramsci that focus on either his political or cultu Helen Hanson. The endangered and dangerous female figures of "Rebecca", of "Jagged Edge" and "What Lies Beneath" have a deserved and endures fascination.
Helen Hanson re-examines these gothic heroines of Kevin Davey. When "The Who"s Pete Townshend donned a union jack jacket in the s, it was a satirical statement from a young English reactionary railing against an Establishment soaked in an archaic no Margaret Atack Margaret Atach. This is the first study of May 68 in fiction and in film. It looks at the ways the events themselves were represented in narrative, evaluates the impact these crucial times had on French cul The Philosophy of Documentary Film. David LaRocca. After Hitchcock.
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David Boyd. The Major Film Theories. Dudley Andrew. Richard Allen.
The Modernist Novel. Professor Stephen Kern. Flashbacks in Film. Maureen Turim. Edgar G. Gary D. Styles of Radical Will. The Soul of Film Theory. Britton on Film. Robin Wood.
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Enjoy Your Symptom! Raymond Spottiswoode. The Persistence of Hollywood. Thomas Elsaesser. Steven Jay Schneider. Close Listening. Charles Bernstein. Love in Motion. Reidar Due. Rosalind Galt. Cindy Washington. The Poetics of Slumberland. Scott Bukatman. Critical Cinema. Clive Myer.
The Desiring-Image. Nick Davis. Altman Text-Only Edition. Kathryn Reed Altman. The Storyboard Artist. Giuseppe Cristiano. Hugo Munsterberg on Film. David Krasner. Steven Woodward. Teaching Film. Lucy Fischer. Queer Bergman. Daniel Humphrey. The Vincent Calvino Reader's Guide. Christopher G. Projected Shadows. Andrea Sabbadini. The Last Laugh. Murray Pomerance. Don't Look Now. Paul Newland. The reality of film.
Richard Rushton. Historical Dictionary of African American Cinema. Venise T. Vladimir Nabokov. We aim to explore the extent to which specific filmmakers, producers, actors and viewers have exploited exploitation cinema as both an industry and a cinematic form characterized by high economic constraints and, at least in some respects, by a greater degree of latitude because of the necessity to display taboo imagery and topics.
Many of these exploitation films have retrospectively gained a legitimacy they lacked upon release because fans and critics now view them not just as exploitation films, but as early works evidencing the talent and sometimes even personal signatures of major actors and directors. Most of the articles in this issue confirm this trend by recuperating auteurism to study specific filmmakers. David F. Though usually not directly associated with exploitation cinema, John Waters operated very much like the exploiteers of classical exploitation cinema Feaster and Wood, , as Elise Pereira-Nunes shows in this issue, producing and distributing three films from Pink Flamingos to Desperate Living through his company, Saliva Films.
Many of the exploitation films of the period that have since garnered the recognition of fans, critics and scholars are, in fact, independent films. Filmmakers could also play with generic conventions. This explains the ironic tone noted by Schaefer that can then be negotiated from a camp perspective. All these films exploit the taboo of cannibalism as a perversion of consumerism, its most quintessential expression, and contain it within a microcosm a family house that metonymically represents the macrocosm U.
Nowhere is this more patent than in the portrayal of female characters and the treatment of race, sexuality and gender. In the end, order is restored, as Linda avenges her previous boyfriend Tommy and saves her new one Kirk by slaying Varla. In spite of the potential here for more active roles for women, these sexual role-reversal films generally cast super-aggressive women as mirror-images of men, without questioning those images too much.
This utopian matriarchy is a microcosm in a world of men pointedly, they are the only female biker gang in the film, they fight a male car gang for turf and the police is comprised of men. The end of the film can be read as a reversal of Faster, Pussycat! Sandy highly original idea. These films seem to cater to the heterosexual male fantasy of spying on women who are all alone, offering glimpses of beautiful women taking showers and sharing close quarters. The film shamelessly fetishizes the prisoners, keeping the promise in the title. Some of the women pleasure themselves and each other in the shower .
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One of the main characters Alcott , however, rejects lesbian sex and prefers to perform for a male character Fred peeking at them through a window. Fred, here, embodies a stand-in for the male spectator. The irony is that he abandons the voyeuristic position when the female character ceases to act as a passive performer and returns his gaze.
In other words, he is scared off by her desire to share in the pleasure. Yet The Big Doll House is more ambiguous and hesitant in its gendered terms. The prison is first presented as a matriarchy run by Miss Dietrich and her female guards; patriarchy is soon introduced as the overarching frame when we find out that Miss Dietrich works for Colonel Mendoza, a man who only comes to watch the women get tortured. In the end, Mendoza turns out to be Miss Dietrich in disguise. In other words, the sadistic male gaze was a sadistic female gaze all along, a revelation foreshadowed by the utilization of a POV shot when Lucian, the female guard, looks at her victims through the bars .
For one, the fetishization of the female body for the male gaze is dramatized within the film as a strategy to manipulate the diegetic viewer. The scene inverts the outcome of the mudfight scene in The Big Doll House , with the black woman coming out victorious thanks to the razor blades concealed in her afro. On the surface, Foxy Brown further develops the racial politics when the heroine allies herself with a local group of Black Panthers; in the scenes where she visits their headquarters, Foxy is even framed with portraits of Angela Davis in the background to underline the physical likeness .
Yet I would argue that this only serves to reinforce the divide between black and white in a manner typical of blaxploitation. But it is, no doubt, the ambivalent politics of the exploitation films of the s and s, combined with the ironic tone noted by Schaeffer, that explains, at least in part, why many still enjoy cult standing today. If these movies often targeted young heterosexual rural white males, the audiences for these films have diversified.
Members of these communities single out specific moments for celebration. At festivals notably, audiences can negotiate images of strong women, lesbian and albeit less frequent gay characters from a camp perspective.