Book Description
Recent media events like the confirmation hearings for Clarence Thomas, the beating of Rodney King and its aftermath, and the murder trial of O.J. Simpson have trained our collective eye on the televised spectacle of race. Living Color combines media studies, cultural studies, and critical race theory to investigate the representation of race on American TV.
Ranging across television genres, historical periods, and racial formations, Living Colorâas it positions race as a key element of television’s cultural influenceâmoves the discussion out of a black-and-white binary and illustrates how class, gender, and sexuality interact with images of race. In addition to essays on representations of "Oriental" performers and African Americans in the early years of television, this collection also examines how the celebrity of the late MTV star Pedro Zamora countered racist and homophobic discourses; reveals how news coverage on drug use shifted from the white middle-class cocaine user in the early 1980s to the black "crack mother" of the 1990s; and takes on TV coverage of the Rodney King beating and the subsequent unrest in Los Angeles. Other essays consider O.J. Simpson’s murder trial, comparing television’s treatment of Simpson to that of Michael Jackson, Magic Johnson, Michael Jordan, and Clarence Thomas and look at the racism directed at Asian Americans by the recurring "Dancing Itos" on Jay Leno’s Tonight Show.
Customer Reviews:
Great essays, terrible publishing mistakes.......2007-06-12
This is a solid anthology of feminist film criticism, but a couple fatal flaws significantly decrease its value (see paragraph 2). Some classics and some new material make it a nice introduction. Most of the familiar writers are representing including Laura Mulvey, Linda Williams, B. Ruby Rich, Maureen Turim, and Kaja Silverman. However, if you already have a decent collection of feminist writings on film, there may be some overlap. For instance: do we really need yet another anthology with "Visual Pleasure and Narrative Cinema"??? Mulvey is great, but she DID write other essays.
One major criticism concerns the publisher: the pages jump directly from 262 to 295 completely omitting Rich's "In the Name of Feminist Film Criticism" - one of the reasons I bought the book in the first place. You also miss the last pages of Annette Kuhn's "Textual Politics" as well as the beginning of the de Laurentis' "Rethinking Women's Cinema". Once the book gets into the 300s, it jumps back to 296, mid-essay, of course!
My three-star rating has nothing to do with the contents - it's solely directed at the sloppy publisher. I have no idea why Indiana UP screwed this up so bad - they're usually very reliable. This is an okay place to start, but there are better feminist anthologies out there.
A good place to start.......1999-09-24
This book was my best friend during my first ever film theory class. The writing is sometimes frustratingly academic, especially if you don't have a background in feminist theory, but the essays were always thought-provoking, and often enlightening.
Book Description
Some women attack and harm men who abuse them. Social norms, law, and films all participate in framing these occurrences, guiding us in understanding and judging them. How do social, legal, and cinematic conventions and mechanisms combine to lead us to condemn these women or exonerate them? What is it, exactly, that they teach us to find such women guilty or innocent of, and how do they do so?
Through innovative readings of a dozen movies made between 1928 and 2001 in Europe, Japan, and the United States, Orit Kamir shows that in representing âgender crimes,â feature films have constructed a cinematic jurisprudence, training audiences worldwide in patterns of judgment of women (and men) in such situations. Offering a novel formulation of the emerging field of law and film, Kamir combines basic legal conceptsâmurder, rape, provocation, insanity, and self-defenseâwith narratology, social science methodologies, and film studies.
Framed not only offers a unique study of law and film but also points toward new directions in feminist thought. Shedding light on central feminist themes such as victimization and agency, multiculturalism, and postmodernism, Kamir outlines a feminist cinematic legal critique, a perspective from which to evaluate the âcinematic legalismâ that indoctrinates and disciplines audiences around the world. Bringing an original perspective to feminist analysis, she demonstrates that the distinction between honor and dignity has crucial implications for how societies construct women, their social status, and their legal rights. In Framed, she outlines a dignity-oriented, honor-sensitive feminist approach to law and film.
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Watching Rape: Film and Television in Postfeminist Culture
Sarah Projansky
Manufacturer: NYU Press
ProductGroup: Book
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Similar Items:
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Transforming a Rape Culture
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Against Our Will: Men, Women, and Rape
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Reading Rape: The Rhetoric of Sexual Violence in American Literature and Culture, 1790-1990
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Prime-Time Feminism: Television, Media Culture, and the Women's Movement Since 1970 (Feminist Cultural Studies, the Media, and Political Culture)
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Fraternity Gang Rape: Sex, Brotherhood, and Privilege on Campus
ASIN: 0814766900
Release Date: 2001-08-01 |
Book Description
“Blending cinematic, literary, historical, and political analyses,
Watching Rape demonstrates that filmic representations of rape are never only about gender and sexual violence, but are narrative devices that also attempt to regulate such conflicts and boundaries of power as race, nationality, and social class. Projansky makes good on her bold claim that representations of rape are ubiquitous, versatile, and utterly central to the history of cinema itself. A scholarly tour de force, a feminist triumph. Two thumbs up!”
—Judith Stacey, University of Southern California
“Exciting and original. Sarah Projansky's work on rape and postfeminism is an important contribution to scholarship in film and cultural studies, as well as women's studies.”
—Richard Slotkin, author of Gunfighter Nation
”Watching Rape is a compelling account of the role of the rape in making meaning and re-inscribing inequalities within visual media, and as such it is a necessary and valuable research contribution. “
—Leslie Kern, School of Women's Studies, York University
“Sarah Projansky's work is distinctive for its theoretical clarity and interdisciplinary feminist framework. She urges us to think deeply about the ways in which media shape our understandings of sexual violence.
Watching Rape is a powerful, historically grounded, incisive analysis of the representation of sexual violence.”
—Rosa Linda Fregoso, University of California-Santa Cruz
Looking at popular culture from 1980 to the present, feminism appears to be "over": that is, according to popular critics we are in an era of "postfeminism" in which feminism has supposedly already achieved equality for women.
Not so, says Sarah Projansky.
In Watching Rape, Projansky undermines this complacent view in her fascinating and thorough analysis of depictions of rape in U.S. film, television, and independent video. Through a cultural studies analysis of such films as
Thelma and Louise,
Daughters of the Dust, and
She's Gotta Have It, and television shows like
ER,
Ally McBeal,
Beverly Hills 90210, and various made-for-tv movies, Projansky challenges us to see popular culture as a part of our everyday lives and practices, and to view that culture critically. How have media defined rape and feminism differently over time? How do popular narratives about rape also communicate ideas about gender, race, class, nationality, and sexuality? And, what is the future of feminist politics, theory, and criticism with regard to issues of sexual violence, postfeminism, and popular media?
The first study to address the relationship between rape and postfeminism, and one of the most detailed and thorough analyses of rape in 25 years,
Watching Rape is a crucial contribution to contemporary feminism.
Customer Reviews:
Watching Rape.......2003-05-19
I first saw Sarah Projansky present this book at the women's center of UC Davis. Her presentation was articulate, comprehensive, sensitive, and compelling. Her thoughts, ideas, and observations were enlightening.
I have since read her book, "Watching Rape", and it is incredibly well done, comprehensive, fresh, and informative on many levels. This book was appealing to me as a survivor of sexual violence, an activist for ending sexual violence, and a writer. I especially appreciated the in-depth attention she paid to racism and/or the absence of race awareness in the media and sexual violence publications. I was also interested in her book to read her insights about the violence of spectators who do not intervene during a rape (and often hurt women [or children] further), and for her discussion of rape prevention and educational films and videos.
I highly recommend this book to people who are interested in studying film representations of sexual violence and it's implications on our journey towards a less violent world, or to people who are interested in understanding and dispelling rape myths and the present state of feminism.
Book Description
In The Hypersexuality of Race, Celine Parreñas Shimizu urges a shift in thinking about sexualized depictions of Asian/American women in film, video, and theatrical productions. Shimizu advocates moving beyond denunciations of sexualized representations of Asian/American women as necessarily demeaning or negative. Arguing for a more nuanced approach to the mysterious mix of pleasure, pain, and power in performances of sexuality, she advances a theory of âproductive perversity,â a theory which allows Asian/American womenâand by extension other women of colorâto lay claim to their own sexuality and desires as actors, producers, critics, and spectators.
Shimizu combines theoretical and textual analysis and interviews with artists involved in various productions. She complicates understandings of the controversial portrayals of Asian female sexuality in the popular Broadway musical Miss Saigon by drawing on ethnographic research and interviews with some of the actresses in it. She looks at how three Hollywood Asian/American femme fatalesâAnna May Wong, Nancy Kwan, and Lucy Liuânegotiate representations of their sexuality; analyzes 1920s and 1930s stag films in which white women perform as sexualized Asian characters; and considers Asian/American women’s performances in films ranging from the stag pornography of the 1940s to the Internet and video porn of the 1990s. She also reflects on two documentaries depicting Southeast Asian prostitutes and sex tourism, The Good Woman of Bangkok and 101 Asian Debutantes. In her examination of films and videos made by Asian/American feminists, Shimizu describes how female characters in their works reject normative definitions of race, gender, and sexuality, thereby expanding our definitions of racialized sexualities in representation.
Average customer rating:
- fatal mistake
- major flaw: heterosexism
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Masculinity Besieged?: Issues of Modernity and Male Subjectivity in Chinese Literature of the Late Twentieth Century
Xueping Zhong , and
Xueping Zhong
Manufacturer: Duke University Press
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Binding: Hardcover
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ASIN: 0822324067 |
Book Description
In Masculinity Besieged? Xueping Zhong looks at Chinese literature and films produced during the 1980s to examine male subjectivities in contemporary China. Reading through a feminist psychoanalytic lens, Zhong argues that understanding the nature of male subjectivities as portrayed in literature and film is crucial to understanding China’s ongoing quest for modernity.
Before the 1990s onslaught of popular culture decentered the role of intellectuals within the nation, they had come to embody Chinese masculinity during the previous decade. The focus on masculinity in literature had become unprecedented in scale and the desire for âreal menâ began to permeate Chinese popular culture, making icons out of Rambo and Takakura Ken. Stories by Zhang Xianliang and Liu Heng portraying male anxiety about masculine sexuality are employed by Zhong to show how âmarginalâ males negotiate their sexual identities in relation to both women and the state. Looking at writers popular among not only the well-educated but also the working and middle classes, she discusses works by Han Shaogong, Yu Hua, and Wang Shuo and examines instances of self-loathing male voices, particularly as they are articulated in Mo Yan’s well-known work Red Sorghum. In her last chapter Zhong examines âroots literature,â which speaks of the desire to create strong men as a part of the effort to create a geopolitically strong Chinese nation. In an afterword, Zhong situates her study in the context of the 1990s.
This book will be welcomed by scholars of Chinese cultural studies, as well as in literary and gender studies.
Customer Reviews:
fatal mistake.......2002-06-20
This book makes a fatal mistake. It discusses Wang Shuo's novella ANIMAL VICIOUS and Jian Wen's film adaption at the same time. Of course, it is OK. However, the writer seems to be so confused herself that she keeps turning to the film version when she is supposed to discuss the original novella. It is OK too. But in the bibliography of the book, there is only the entry for the novella, but none for the movie. In other words, the author seems to imply (and it seems that she believes so) that the film and the novella are the same text. The conflation of the film and the novella is a symptom of the scholar's absent-mindedness. It is not professional. Also, I agree with the other reader: this book is surprisingly heterosexual-centered. Ignorance of any gay presence in Chinese lit at large is shocking.
major flaw: heterosexism.......2002-06-16
This book claims that it is on Chinese masculinity, but it gives no room to homosexuality in Chinese literature, as (not) shown in its index. It is very confusing. If this book is so into the crisis of Chinese masculinity, why does it entirely overlook homosexuals in China? Such a lack is even more puzzling, when the reader finds that thiis book in question heavily relies on Kaja Silverman's famous work "Male Subjectivity at the Margins." Silverman's book is so concerned with gay men and their representation. However, Zhong Xueping, the writer who relies on Silverman, simply ignores the possibility of gay representation in the Chinese context. This lack needs explanation. Or, it is a symptom of heterosexism of the seemingly gender-studies-concerned book.
Average customer rating:
- Pride and Joy: Children's Portraits in the Netherlands, 1500-1700
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Pride and Joy: Children's Portraits in the Netherlands, 1500-1700
Jan Baptist Bedaux , and
Rudi Ekkart
Manufacturer: Harry N. Abrams
ProductGroup: Book
Binding: Hardcover
Baroque
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ASIN: 0810967308 |
Book Description
The wonderful portraits of children that Dutch and Flemish artists painted in the late Renaissance and Baroque periods offer a fascinating look not just at the youngsters themselves—along with their clothes, toys, and pets—but also at the society in which they lived. The charming pictures in this unique book demonstrate that 500 years ago children were, as they are now, their parents' pride and joy.
At first glance, these young people in their elaborate clothing and fancy headgear hardly resemble modern youth. But their fresh faces and vivid expressions transcend time. Superb full-page colorplates reproduce 85 of the best of these portraits—by famous and lesser-known artists alike—while essays by leading art and cultural historians set them in context. Countless parents have formal portraits or studio photographs made of their children. For them, as well as for art lovers and students, Pride and Joy should hold an irresistible fascination.
Customer Reviews:
Pride and Joy: Children's Portraits in the Netherlands, 1500-1700.......2007-04-03
Wow! This is the most amazing and extensive collection of photos of primary sources for children's renaissance costumes that I have ever seen. Additionally, the analysis is extensive, scholarly, helpful and fascinating. This book provides a fascinating insight into family life in the renaissance. The book itself is a top-quality production. The color plates are large and beautifully reproduced. This is THE must-have for costumers and recreationists interested in children and/or families of the Renaissance. The only frustration is its narrow focus on the Netherlands. I just wish this was one of a series!
Customer Reviews:
Informative.......2004-11-27
I was given this book and found it very interesting. It has information about Baroque music, Bach, his music, and the two Cantatas included on the CD. All in all, it was very informative, but it can be boring.
Average customer rating:
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The Age of the Marvelous
Manufacturer: Hood Museum of Art
ProductGroup: Book
Binding: Hardcover
Baroque
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| Exhibition Catalogs
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ASIN: 0944722091 |
Average customer rating:
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Joy of Baroque (Joy Of...Series)
Denes Agey
Manufacturer: Music Sales Corporation
ProductGroup: Book
Binding: Paperback
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ASIN: 0825680158 |
Book Description
An unusual collection for the early to intermediate student, this book presents rare and interesting 17th and 18th century keyboard works in authentic editions. It includes pieces by Bach, Couperin, Handel, Kimberger, Krieger, Pachelbel, Purcell, Rameau, Scarlatti, and others.
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- Media/Society: Industries, Images and Audiences
- Mel Gibson's Passion and Philosophy: The Cross, the Questions, the Controversy
- Memento & Following
- Movie-Made America: A Cultural History of American Movies
- Myth & the Movies: Discovering the Myth Structure of 50 Unforgettable Films
- Once More With Feeling
- Prospero's Books: A Film of the Shakespeare's The Tempest
Books Index
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