book
Cannibalilizing queer : Brazilian cinema from 1970 to 2015 / Joao Nemi Neto Detroit: Wayne State University Press, 2021.
Call No: 71-032(81) NEMAuthor: Nemi Neto, Joao Edition: 2021Place: DetroitPublisher: Wayne State University PressPubDate: 2021PhysDes: x, 170 pages ; 24 cmSeries: Queer ScreensSubject: BRAZIL ; HOMOSEXUALITY IN FILMS ; AIDS IN FILMS ; PORNOGRAPHIC FILMS ; CANNIBALISM IN FILMS ; MADAME SATA (BL/FR, Karim Ainouz, 2002) ; MARINS, JOSE MOJICA ; ORGIA OU O HOMEN QUE DEU CRIA (BL, Joao Silverio Trevisan, 1970) Summary: Through an analysis of contemporary Brazilian cinematic production, Cannibalizing Queer: Brazilian Cinema from 1970 to 2015 discusses which queer representations are erased and which are acknowledged in the complex processes of cultural translation, adaptation, and "devouring" that defines the Brazilian understanding of sexual dissidents and minorities. João Nemi Neto argues for Brazilian cinema studies to acknowledge the importance of 1920s modernism and of antropografia, a conceptual mode of cannibalism, to adopt and extrapolate a perverse form of absorption and raise the stakes on queer theory and postcolonialism, and to demonstrate how they are crucial to the development of a queer tradition in Brazilian cinema.
In five chapters and two "trailers," Nemi Neto understands the term "queer" through its political dimensions because the films he analyzes represent characters that conform neither to American coming-out politics nor to Brazilian identity politics. Nonetheless, the films are queer precisely because the queer experiences and affection explored in these films do not necessarily insist on identifying characters as a particular sexuality or gender identity. Therefore, attention to characters within a unique cinematic world raises the stakes on several issues that hinge on cinematic form, narrative, and representation. Nemi Neto interviews and examines the work of Joao Silverio Trevisan and provides readings of films such as AIDS o furor do sexo explícito (AIDS the Furor of Explicit Sex, 1986), and Dzi Croquetes (Dzi Croquetes, 2009) to theorize a productive overlap between queer and antropofagia. Moreover, the films analyzed here depict queer alternative representations to both homonormativity and heteronormativity as forms of resistance, at the same time as prejudice and heteronormativity remain present in contemporary Brazilian social practices.
Graduate students and scholars of cinema and media studies, queer studies, Brazilian modernism, and Latin American studies will value what one early reader called "a point of departure for all future research on Brazilian queer cinema." -- publisher's web siteISBN: 9780814346105Donation: Senses of Cinema
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The films of Claire Denis : intimacy on the border / edited by Marjorie Vecchio ; with a foreword by Wim Wenders New York: I.B. Tauris, 2014.
Call No: 81DEN FILAuthor: Vecchio, Marjorie ; Wenders, Wim Source: USPlace: New YorkPublisher: I.B. TaurisPubDate: 2014PhysDes: xxiii, 237 pages : illustrations ; 24 cmSubject: AESTHETICS ; AFRICA ; ART CINEMA ; CANNIBALISM IN FILMS ; CRITICISM ; DANCE IN FILMS ; DIRECTORS ; DIRECTORS. FRANCE ; FAMILY IN FILMS ; IMPERIALISM AND THE CINEMA ; LANDSCAPES IN FILMS ; MUSIC AND THE CINEMA ; MUSIC IN FILMS ; NATIONAL CULTURE AND THE CINEMA ; NATIONAL IDENTITY AND THE CINEMA ; RACIAL ISSUES AND THE CINEMA ; TIME IN FILMS ; WORKERS IN FILMS ; WORKING CLASS IN FILMS ; DENIS, CLAIRE ; CHOCOLATE [CHOCOLAT] (FR, Claire Denis, 1988) ; INTRUDER, THE (FR, Claire Denis, 2004)
SEE
INTRUS, L' ; INTRUS, L' (FR, Claire Denis, 2004) ; J'AI PAS SOMMEIL (FR/SZ, Claire Denis, 1994) ; I CAN'T SLEEP (FR/SZ, Claire Denis, 1994) ; NENETTE AND BONI (FR, Claire Denis, 1996)
SEE
NENETTE ET BONI ; NENETTE ET BONI (FR, Claire Denis, 1996) ; BEAU TRAVAIL [TROUBLE EVERY DAY] (FR/GG/JA, Claire Denis, 1999) ; FRIDAY NIGHT (FR, Claire Denis, 2002)
SEE
VENDREDI SOIR ; VENDREDI SOIR (FR, Claire Denis, 2002) ; WHITE MATERIAL (FR/CM, Claire Denis, 2009) Summary: "The films of Claire Denis probe the idea of global citizenship and trace the borderlines of family, desire, nationality and power. Her films, including 'Chocolat', 'Beau travail' and 'White Material' explore connections between national experience and individual circumstance, visualising the complications of such dualities. Following a foreword by Wim Wenders, international contributors explore the themes she addresses in her films, such as kinship and landscape, neo-colonialism and New French Extremity. Original interviews with an editor, actor and two composers familiar with Denis's working style and with Denis herself, also reveal fresh facets of this intrepid filmmaker." - BOOK BLURBNotes: Includes list of illustrations, bibliographic references and indexISBN: 9781848859548Contents: --List of illustrations -- Notes on contributors -- Preface -- Foreword: 'Klarchen'
--Part I Interviews -- 'To let the image sing': Conversations with Dickon Hinchliffe and Stuart Staples: Martine Beugnet -- Interview with Nelly Quettier: Kirsten Johnson -- Interview with Alex Descas: Kirsten Johnson -- Interview with Claire Denis: Jean-Luc Nancy --
-- Part II Relations -- La famille Denis: Catherine Wheatley -- Reinventing community, or non-relational relations in Claire Denis's 'I Can't Sleep': Sam Ishii-Gonzales -- Beyond the other: grafting relations in the films of Claire Denis: James S. Williams --
-- Part III Global citizenship -- Beyond postcolonialism? From 'Chocolat' to 'White Material': Cornelia Ruhe -- 'Trouble Every Day: the neo-colonialists bite back: Florence Martin -- Forgiveness and employment: a study of the role of work in the films of Claire Denis: Rafael Ruiz Pleguezuelos -- 'The Intruder' according to Claire Denis: Jean-Luc Nancy --
--Part IV Within film -- Delivering: Claire Denis's opening sequences: Noelle Rouxel-Cubberly -- Rhythms of nationality: Denis and dance: Laura McMahon -- That interrupting feeling: interstitial disjunctions in Claire Denis's 'L'Intrus': Firoza Elavia -- Points of flight, lines of fracture: Claire Denis's uncanny landscape: Henrik Gustafsson -- Arthouse/grindhouse: Claire Denis and the 'New French Extremity': Adam Nayman and Andrew Tracy
--Bibliography -- Index
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The horror reader / edited by Ken Gelder New York, NY: Routledge, 2000.
Call No: 735.2 HORAuthor: Gelder, Ken, 1955 Place: New York, NYPublisher: RoutledgePubDate: 2000PhysDes: xiii, 414 p. ; 25 cmSubject: CANNIBALISM IN FILMS ; DRACULA IN FILMS ; ETHNOGRAPHIC FILMS ; FAN MAGAZINES ; FANTASTIC FILMS ; GENDER AND THE CINEMA ; GHOST FILMS ; HOMOSEXUALITY AND THE CINEMA ; HORROR FILMS ; HORROR FILMS. HONG KONG ; HORROR FILMS. ITALY ; HORROR FILMS. USA ; IMPERIALISM AND THE CINEMA ; MONSTERS IN FILMS ; PORNOGRAPHY AND THE CINEMA ; PSYCHOANALYSIS AND THE CINEMA ; RACIAL ISSUES AND THE CINEMA ; SERIAL KILLERS IN FILMS ; SLASHER FILMS ; THEORY ; VAMPIRE FILMS ; WOMEN AND THE CINEMA ; ARGENTO, DARIO ; BAVA, MARIO ; CASTLE, TERRY ; CHEUNG, LESLIE ; CORMAN, ROGER ; CRONENBERG, DAVID ; TODOROV, TZVETAN ; AMERICAN GOTHIC (US, John Hough, 1987) ; CURSE OF FRANKENSTEIN, THE (UK, Terence Fisher, 1957) ; BRIDE OF FRANKENSTEIN, THE (US, James Whale, 1935) ; FRANKENSTEIN (US, James Whale, 1931) ; FRIDAY THE 13TH (US, Sean S. Cunningham, 1980) ; HALLOWEEN (US, John Carpenter, 1978) ; HAUNTING, THE (US, Robert Wise, 1963) ; KING KONG (US, Merian C. Cooper & Ernest B. Schoedsack, 1933) ; NIGHT OF THE LIVING DEAD (US, George A. Romero, 1968) ; OPERA (IT, Dario Argento, 1987) ; ROSEMARY'S BABY (US, Roman Polanski, 1968) ; PSYCHO (US, Alfred Hitchcock, 1960) ; SINNUI YAUMAN (HK, Ching Siu Tung, 1987) ; CHINESE GHOST STORY, A (HK, Ching Siu Tung, 1987) ; SUSPIRIA (IT, Dario Argento, 1977) ; YANZHI KOU (HK, Stanley Kwan, 1987) Notes: Includes bibliographical references and indexISBN: 041521355X (HB : alk. paper); 0415213568 (PB : alk. paper)LON: 21262689
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journal article
Rumblings from Australia's deep south : Tasmanian gothic on-screen in Studies in Australasian cinema (2011) vol.5 iss.1 p.71-80
Author: Bullock, Emily PhysDes: ArticleSubject: FANTASTIC FILMS. AUSTRALIA ; LOCATION SHOOTING. AUSTRALIA: TASMANIA ; CANNIBALISM IN FILMS ; LANDSCAPES IN FILMS. AUSTRALIA Summary: This article examines the current cinematic attention to Tasmania and its stories, with particular attention paid to the Gothic mode. ‘Tasmanian Gothic’ has become a by-word for the unsettling combination of Tasmania's colonial histories and its harsh landscapes in literature, but its cinematic counterpart has virtually been ignored. It is suggested that Tasmania is experiencing a renaissance on the big screen and it is the Gothic that appears to be the most dominant mode through which it is pictured. The article then charts a history of local Tasmanian Gothic cinematic production, a hybrid vision that tends towards a combination of stylistic, thematic, historical and geographic elements. Tasmanian Gothic cinema refers not simply to productions by Tasmanian film-makers, but to the broader on-screen representation of the island, its culture and histories by a range of local, interstate and international crews. As this article suggests, Gothic cinematic representations of Tasmania are yoked by a number of persistent concerns that act in dialogue with the unique cultural and geographic positioning of Australia's only island state. --Abstract
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Subversive pleasures : Bakhtim, cultural criticism, and film / Robert Stam Baltimore: John Hopkins University Press, 1989.
Call No: 620 BAK STAAuthor: Stam, Robert Place: BaltimorePublisher: John Hopkins University PressPubDate: 1989PhysDes: xiii, 274 pages ; 24 cm.Series: ParallaxSubject: BAHTIN, MIHAIL ; ALLEN, WOODY ; BUNUEL, LUIS ; CANNIBALISM IN FILMS ; BRAZIL ; SEMIOLOGY ; DIALOGUE ; FORMALISM ; GODARD, JEAN-LUC ; PORNOGRAPHY ; SHAKESPEARE, WILLIAM ; ZELIG (US, Woody Allen, 1983) Summary: Applying Bakhtin's critical methods to film, mass-media and cultural studies, Stam draws on Bakhtin's corporal semiotics of "the grotesque body" to analyze eroticism in the cinema, and explores issues including the "translinguistic" critique of Saussurean semiotics and Russian formalism.Notes: Includes bibliographical references (pages 241-258) and index.ISBN: 0801845092Donation: Adrian MilesContents: Translinguistics and Semiotics -- Language, Difference, and Power -- Film, Literature, and the Carnivalesque -- Of Cannibals and Carnivals -- The Grotesque Body and Cinematic Eroticism -- From Dialogism to Zelig -- Envoi: Bakhtin and Mass-Media Critique.ID2: 343
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book
Zombie cinema / Ian Olney New Brunswick: Rutgers University Press, 2017.
Call No: 735.27 OLNAuthor: olney, Ian Edition: 2017Place: New BrunswickPublisher: Rutgers University PressPubDate: 2017PhysDes: 170 pages ; 18cmSubject: ZOMBIES IN FILMS AND TV ; BLAXPLOITATION FILMS ; CANNIBALISM IN FILMS ; CRAZIES, THE (US, George A. Romero, 1973) ; DAWN OF THE DEAD (US, George A. Romero, 1979) ; I WALKED WITH A ZOMBIE (US, Jacques Tourner, 1943) ; NIGHT OF THE LIVING DEAD (US, George A. Romero, 1968) ; ROMERO, GEORGE ; REVENANTS LES (FR, Robin Campillo, 2004) ; WALKING DEAD, THE [TV] (US, 2010 - ) ; WORLD WAR Z (US/MT, Marc Forster, 2013) Summary: It’s official: the zombie apocalypse is here. The living dead have been lurking in popular culture since the 1930s, but they have never been as ubiquitous or as widely-embraced as they are today.
Zombie Cinema is a lively and accessible introduction to this massively popular genre. Presenting a historical overview of zombie appearances in cinema and on television, Ian Olney also considers why, more than any other horror movie monster, zombies have captured the imagination of twenty-first-century audiences.
Surveying the landmarks of zombie film and TV, from White Zombie to The Walking Dead, the book also offers unique insight into why zombies have gone global, spreading well beyond the borders of American and European cinema to turn up in films from countries as far-flung as Cuba, India, Japan, New Zealand, and Nigeria. Both fun and thought-provoking, Zombie Cinema will give readers a new perspective on our ravenous hunger for the living dead. -- publisher's web siteISBN: 9780813579474Contents: Acknowledgments -- Introduction: Our Zombies, Ourselves -- 1. Black Mask, White Zombies -- 2. Consumer Culture -- 3. Boy Eats Girl -- Conclusion: Homebodies -- Further Reading -- Works Cited -- Index
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