How does post-classical cinema visualize its awareness of coming after a "classical" or "golden age"? How do post-classical filmmakers claim or disavow classical history? How do historically disenfranchised post-classical filmmakers, whether by gender, sexuality, or race, grapple with exclusionary and stereotype-ridden canons? Classical Projections offers a new way of seeing quotations of films within other films.
How does post-classical cinema visualize its awareness of coming after a "classical" or "golden age"? How do post-classical filmmakers claim or disavow classical history? How do historically disenfranchised post-classical filmmakers, whether by gender, sexuality, or race, grapple with exclusionary and stereotype-ridden canons? Classical Projections offers a new way of seeing quotations of films within other films.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Eleni Palis is an assistant professor of English and Cinema Studies at the University of Tennessee. Her work has appeared in Screen, The Journal of Cinema and Media Studies (Cinema Journal), [in]Transition: Journal of Videographic Film and Moving Image Studies, and Oxford Bibliographies Online.
Inhaltsangabe
Introduction Chapter 1: "Quoting Genre and Creating Canon" Chapter 2: "Film Quotation and the Oppositional Gaze" Chapter 3: "'D-I-Y' Quotation and Created Appropriation" Chapter 4: "Film Quotation and Visual Sovereignty" Chapter 5: "Film Quotation, Foreign and Domestic" Chapter 6: "Cinephilic Pilgrimage and Authorial Scandal" Annotated Appendix Index