Karen Lury
- Published in print:
- 2001
- Published Online:
- October 2011
- ISBN:
- 9780198159704
- eISBN:
- 9780191673689
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198159704.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
This book examines the phenomenon of ‘yoof’ television programmes such as Network 7, The Word, The Big Breakfast, Snub TV, and Gamesmaster. Between 1987 and 1995 these and other related programmes ...
More
This book examines the phenomenon of ‘yoof’ television programmes such as Network 7, The Word, The Big Breakfast, Snub TV, and Gamesmaster. Between 1987 and 1995 these and other related programmes formed part of a high-profile genre that in terms of both the personnel involved and their visual style continue to be influential in British television today. Examining these programmes the author reflects on the way in which the contemporary youth audience – Generation X – were being addressed. The author identifies an ambivalent viewing sensibility – ‘cynicism and enchantment’ – which encapsulates the attitude expressed by both the programmes and the audience. The distinctive aspect of the book is the way in which the author concentrates on the spatial and visual aspects of television. In particular her concern is to re-evaluate television as a specific experience, and one which has a central importance in young people's formation of identity and their sense of being in the world. Her central thesis also suggests that while television must necessarily be related to other visual media, it should be understood as having distinct aesthetic and phenomenological qualities of its own.Less
This book examines the phenomenon of ‘yoof’ television programmes such as Network 7, The Word, The Big Breakfast, Snub TV, and Gamesmaster. Between 1987 and 1995 these and other related programmes formed part of a high-profile genre that in terms of both the personnel involved and their visual style continue to be influential in British television today. Examining these programmes the author reflects on the way in which the contemporary youth audience – Generation X – were being addressed. The author identifies an ambivalent viewing sensibility – ‘cynicism and enchantment’ – which encapsulates the attitude expressed by both the programmes and the audience. The distinctive aspect of the book is the way in which the author concentrates on the spatial and visual aspects of television. In particular her concern is to re-evaluate television as a specific experience, and one which has a central importance in young people's formation of identity and their sense of being in the world. Her central thesis also suggests that while television must necessarily be related to other visual media, it should be understood as having distinct aesthetic and phenomenological qualities of its own.
Jan Wahl
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780813136189
- eISBN:
- 9780813141176
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813136189.001.0001
- Subject:
- Film, Television and Radio, Film
Regarded by many filmmakers and critics as one of the greatest directors in cinema history, Carl Theodor Dreyer (1889-1968) achieved worldwide acclaim after the debut of his masterpiece, The Passion ...
More
Regarded by many filmmakers and critics as one of the greatest directors in cinema history, Carl Theodor Dreyer (1889-1968) achieved worldwide acclaim after the debut of his masterpiece, The Passion of Joan of Arc (1928). Named the most influential film of all time at the 2010 Toronto International Film Festival, the classic film and its legendary director still exert strong influence even today. In 1955, Jan Wahl, an American student, had the extraordinary opportunity at the age of twenty to spend a unique and unforgettable summer with Dreyer as the director filmed Ordet or The Word (1955). Carl Theodor Dreyer and Ordet: My Summer with the Danish Filmmaker is a captivating account of Wahl's time with the director, based on Wahl's daily journal accounts and transcriptions of his conversations with Dreyer. Offering a glimpse into the filmmaker's world, Wahl fashions a portrait of Dreyer as a man, mentor, friend, and director. Wahl's unique and charming account is supplemented by exquisite photos of the filming and by selections from Dreyer's papers, including his notes on film style, his introduction for the actors before the filming of Ordet, and a visionary lecture he delivered at Edinburgh. Carl Theodor Dreyer and Ordet details one student's remarkable experiences with a legendary director and the unlikely bond formed over a summer.Less
Regarded by many filmmakers and critics as one of the greatest directors in cinema history, Carl Theodor Dreyer (1889-1968) achieved worldwide acclaim after the debut of his masterpiece, The Passion of Joan of Arc (1928). Named the most influential film of all time at the 2010 Toronto International Film Festival, the classic film and its legendary director still exert strong influence even today. In 1955, Jan Wahl, an American student, had the extraordinary opportunity at the age of twenty to spend a unique and unforgettable summer with Dreyer as the director filmed Ordet or The Word (1955). Carl Theodor Dreyer and Ordet: My Summer with the Danish Filmmaker is a captivating account of Wahl's time with the director, based on Wahl's daily journal accounts and transcriptions of his conversations with Dreyer. Offering a glimpse into the filmmaker's world, Wahl fashions a portrait of Dreyer as a man, mentor, friend, and director. Wahl's unique and charming account is supplemented by exquisite photos of the filming and by selections from Dreyer's papers, including his notes on film style, his introduction for the actors before the filming of Ordet, and a visionary lecture he delivered at Edinburgh. Carl Theodor Dreyer and Ordet details one student's remarkable experiences with a legendary director and the unlikely bond formed over a summer.
Christophe Bident
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780823281763
- eISBN:
- 9780823284825
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823281763.003.0017
- Subject:
- Philosophy, General
Looks at the two early short narratives “The Idyll” and “The Last Word,” both on their own terms, and in relation Blanchot’s wider creative writing at the time (Thomas the Obscure). Picks up on the ...
More
Looks at the two early short narratives “The Idyll” and “The Last Word,” both on their own terms, and in relation Blanchot’s wider creative writing at the time (Thomas the Obscure). Picks up on the possible traces of a political experience and language in these works.Less
Looks at the two early short narratives “The Idyll” and “The Last Word,” both on their own terms, and in relation Blanchot’s wider creative writing at the time (Thomas the Obscure). Picks up on the possible traces of a political experience and language in these works.
Jasmine Mitchell
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780252043284
- eISBN:
- 9780252052163
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043284.003.0005
- Subject:
- Sociology, Race and Ethnicity
This chapter illustrates how mixed black women are moralized, pathologized, or eroticized in the public imaginary through an analysis of the film Monster’s Ball (2001) starring Halle Berry and the ...
More
This chapter illustrates how mixed black women are moralized, pathologized, or eroticized in the public imaginary through an analysis of the film Monster’s Ball (2001) starring Halle Berry and the television series The L Word (2004-9) featuring Jennifer Beals. These two cultural productions serve as examples of the management and disciplining of blackness through sexuality and consumer citizenship. Illuminating how the historical specter of the mulatta figure both haunts and rearticulates discourses of multiculturalism and postrace in the 2000s, Monster’s Ball and The L Word both represent the anxieties and desires of an acceptable blackness that can be brought into civil society or contained.Less
This chapter illustrates how mixed black women are moralized, pathologized, or eroticized in the public imaginary through an analysis of the film Monster’s Ball (2001) starring Halle Berry and the television series The L Word (2004-9) featuring Jennifer Beals. These two cultural productions serve as examples of the management and disciplining of blackness through sexuality and consumer citizenship. Illuminating how the historical specter of the mulatta figure both haunts and rearticulates discourses of multiculturalism and postrace in the 2000s, Monster’s Ball and The L Word both represent the anxieties and desires of an acceptable blackness that can be brought into civil society or contained.
Josephine Balmer
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199585090
- eISBN:
- 9780191747519
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199585090.003.0010
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter examines further the creative interactions between contemporary poetry and classical translation through a discussion of Josephine Balmer’s 2009 collection, The Word for Sorrow. This ...
More
This chapter examines further the creative interactions between contemporary poetry and classical translation through a discussion of Josephine Balmer’s 2009 collection, The Word for Sorrow. This volume intersperses translations of Ovid’s often neglected exile poetry, Tristia, with poems exploring the old, second-hand dictionary being used to translate them. Here classical translation offers a means to approach more universal public grief such as the horror of exile or war, in particular the bloody Gallipoli campaign of the First World War, as well as a way to articulate new roles for translators, such as that of translator-narrator.Less
This chapter examines further the creative interactions between contemporary poetry and classical translation through a discussion of Josephine Balmer’s 2009 collection, The Word for Sorrow. This volume intersperses translations of Ovid’s often neglected exile poetry, Tristia, with poems exploring the old, second-hand dictionary being used to translate them. Here classical translation offers a means to approach more universal public grief such as the horror of exile or war, in particular the bloody Gallipoli campaign of the First World War, as well as a way to articulate new roles for translators, such as that of translator-narrator.
Jing Jamie Zhao
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9789888390809
- eISBN:
- 9789888390441
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888390809.003.0005
- Subject:
- Society and Culture, Gay and Lesbian Studies
This chapter presents a critical analysis of Chinese fans’ queer gossip discourse surrounding the American actress Katherine Moennig, most famous still for her breakthrough role as a butch lesbian ...
More
This chapter presents a critical analysis of Chinese fans’ queer gossip discourse surrounding the American actress Katherine Moennig, most famous still for her breakthrough role as a butch lesbian character in the television series The L Word (Showtime, 2004–2009). Through a deconstructive reading of the gossip that imagines Moennig’s real-life lesbian gender identities and homoerotic relationships in one of the largest cross-cultural fandoms in Chinese cyberspace, The Garden of Eden (Yidianyuan), the author reveals that, rather than simply assimilating or rejecting the normative understandings of the West as a civilized, queer-friendly haven and China as a backward, heterocentric nation, the fans’ intricate fantasies about the Western queer world reflect their subjective, hybridized reappropriation and reinscription of the Chinese queer Occidentalist imaginations. Ultimately, she argues that the queer Occidentalism exemplified in this cross-cultural gossip functions as a survival strategy for queer fans to interrogate the depressing, heteropatriarchal realities in contemporary mainstream Chinese society.Less
This chapter presents a critical analysis of Chinese fans’ queer gossip discourse surrounding the American actress Katherine Moennig, most famous still for her breakthrough role as a butch lesbian character in the television series The L Word (Showtime, 2004–2009). Through a deconstructive reading of the gossip that imagines Moennig’s real-life lesbian gender identities and homoerotic relationships in one of the largest cross-cultural fandoms in Chinese cyberspace, The Garden of Eden (Yidianyuan), the author reveals that, rather than simply assimilating or rejecting the normative understandings of the West as a civilized, queer-friendly haven and China as a backward, heterocentric nation, the fans’ intricate fantasies about the Western queer world reflect their subjective, hybridized reappropriation and reinscription of the Chinese queer Occidentalist imaginations. Ultimately, she argues that the queer Occidentalism exemplified in this cross-cultural gossip functions as a survival strategy for queer fans to interrogate the depressing, heteropatriarchal realities in contemporary mainstream Chinese society.
Gwyneth Jones
- Published in print:
- 1998
- Published Online:
- January 2019
- ISBN:
- 9780853237839
- eISBN:
- 9781786945389
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853237839.003.0021
- Subject:
- Literature, Criticism/Theory
In this chapter, Jones reviews various texts by Ursula Le Guin, including Always Coming Home, The Dispossessed, The Word for World is Forest, The Left Hand of Darkness, and Sur. Jones draws attention ...
More
In this chapter, Jones reviews various texts by Ursula Le Guin, including Always Coming Home, The Dispossessed, The Word for World is Forest, The Left Hand of Darkness, and Sur. Jones draws attention to the depiction of the ‘South’ in literature as a whole, but more specifically in terms of the feminist utopias that Le Guin creates in her narratives. She also foregrounds the significance of navigating the political, social and gender codes of society and explores the ways in which masculinity and femininity often correspond to an imbalance of power.Less
In this chapter, Jones reviews various texts by Ursula Le Guin, including Always Coming Home, The Dispossessed, The Word for World is Forest, The Left Hand of Darkness, and Sur. Jones draws attention to the depiction of the ‘South’ in literature as a whole, but more specifically in terms of the feminist utopias that Le Guin creates in her narratives. She also foregrounds the significance of navigating the political, social and gender codes of society and explores the ways in which masculinity and femininity often correspond to an imbalance of power.
erin Khuê Ninh
- Published in print:
- 2011
- Published Online:
- March 2016
- ISBN:
- 9780814758441
- eISBN:
- 9780814759196
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814758441.003.0005
- Subject:
- Society and Culture, Asian Studies
This chapter provides a reading of Chitra Divakaruni's “The Word Love” and Fae Myenne Ng's Bone to examine the formation of the daughterly subject in relation to the family's exceptional structural ...
More
This chapter provides a reading of Chitra Divakaruni's “The Word Love” and Fae Myenne Ng's Bone to examine the formation of the daughterly subject in relation to the family's exceptional structural investment in female chastity. Anthropological work on chastity has long suggested a material basis and rationale for the cultural management of virginity, but these studies have tended to theorize the economic and social systems in which female bodies circulate without theorizing the female subject. Combining such anthropological perspectives with the techniques of literary criticism, the chapter develops a Foucauldian analysis of the administration of sexuality and a rendering of the young woman thereby produced: a paranoid and self-policing subject, commended to herself as object.Less
This chapter provides a reading of Chitra Divakaruni's “The Word Love” and Fae Myenne Ng's Bone to examine the formation of the daughterly subject in relation to the family's exceptional structural investment in female chastity. Anthropological work on chastity has long suggested a material basis and rationale for the cultural management of virginity, but these studies have tended to theorize the economic and social systems in which female bodies circulate without theorizing the female subject. Combining such anthropological perspectives with the techniques of literary criticism, the chapter develops a Foucauldian analysis of the administration of sexuality and a rendering of the young woman thereby produced: a paranoid and self-policing subject, commended to herself as object.
Nona Willis Aronowitz
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816681204
- eISBN:
- 9781452949048
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816681204.003.0016
- Subject:
- Literature, Criticism/Theory
This chapter examines Tom Wolfe’s contradiction between his populist faith in human possibility and his essentially conservative political instincts. A subtheme of utopianism during the 1960s was the ...
More
This chapter examines Tom Wolfe’s contradiction between his populist faith in human possibility and his essentially conservative political instincts. A subtheme of utopianism during the 1960s was the attempt to arrive at some sort of honest optimism. This chapter analyzes books such as The Kandy-Kolored Tangerine-Flake Streamline Baby, The Pump House Gang, The Electric Kool-Aid Acid Test, and The Painted Word to explain how Wolfe indulged in mindless yea-saying and thus betrayed the tension at the core of pop by converting it to a more sophisticated version of the traditional American booster mentality. It argues that Wolfe’s populism is hard to take because it willfully ignored certain discomfiting facts, and that his optimism denies rather than affirms. It also considers Wolfe’s continuing inability to seriously confront unpleasant political realities and how he diverted his energy to attacking the left when there were no more cultural fireworks to celebrate.Less
This chapter examines Tom Wolfe’s contradiction between his populist faith in human possibility and his essentially conservative political instincts. A subtheme of utopianism during the 1960s was the attempt to arrive at some sort of honest optimism. This chapter analyzes books such as The Kandy-Kolored Tangerine-Flake Streamline Baby, The Pump House Gang, The Electric Kool-Aid Acid Test, and The Painted Word to explain how Wolfe indulged in mindless yea-saying and thus betrayed the tension at the core of pop by converting it to a more sophisticated version of the traditional American booster mentality. It argues that Wolfe’s populism is hard to take because it willfully ignored certain discomfiting facts, and that his optimism denies rather than affirms. It also considers Wolfe’s continuing inability to seriously confront unpleasant political realities and how he diverted his energy to attacking the left when there were no more cultural fireworks to celebrate.
