Defines the food film genre, and analyzes the relationship between cinematic food imagery and various cultural constructs, including politics, family, identity, race, ethnicity, nationality, gender and religion. This work includes a filmography of movies within the food genre.
Defines the food film genre, and analyzes the relationship between cinematic food imagery and various cultural constructs, including politics, family, identity, race, ethnicity, nationality, gender and religion. This work includes a filmography of movies within the food genre.
James R. Keller is a professor and chair of the English and Theatre department at Eastern Kentucky University in Richmond, Kentucky. The author or editor of numerous works about popular culture, he lives in Lexington, Kentucky.
Inhaltsangabe
Table of Contents Introduction: The Cinematic Hunger Artists 1: The Allegory of Intemperance: Spenser and Greenaway's The Cook, the Thief, His Wife, and Her Lover 2: Itzam Revealed: Chocolat and the Mayan Cosmology 3: Scotland, PA: Macbeth, McMeat and McMurder 4: Four Little Caligulas: La Grande Bouffe, Consumption and Male Masochism 5: What's Cooking?: Multiculturalism and Holiday Histrionics or a Banquet of Shouting 6: Mostly Martha: Appe/type and Stereo/tite 7: "Culinizing" the Female Form: Felicia's Journey, Predation, and Cultural Imperialism 8: Dreaming of the Pure Vegetable Kingdom: Ecofeminism and Agriculture in A Thousand Acres and Antonia's Line 94 9: The Kitchen Panopticon: Indeterminacy and the Myth of Objective Surveillance 10: Filming and Eating Italian: Big Night and Dinner Rush 11: A Chef in Love: The Fable of a Communist and Culinary Re-Evolution 12: The Artist in Exile: Babette's and "Alexander's Feast" 13: Family Suppers and the Social Syntax of Dissimilation 14: Food Fights: The Martial Chefs and Magical Arts of Asian Cinema Conclusion Appendix: Food Films Bibliography Index
Table of Contents Introduction: The Cinematic Hunger Artists 1: The Allegory of Intemperance: Spenser and Greenaway's The Cook, the Thief, His Wife, and Her Lover 2: Itzam Revealed: Chocolat and the Mayan Cosmology 3: Scotland, PA: Macbeth, McMeat and McMurder 4: Four Little Caligulas: La Grande Bouffe, Consumption and Male Masochism 5: What's Cooking?: Multiculturalism and Holiday Histrionics or a Banquet of Shouting 6: Mostly Martha: Appe/type and Stereo/tite 7: "Culinizing" the Female Form: Felicia's Journey, Predation, and Cultural Imperialism 8: Dreaming of the Pure Vegetable Kingdom: Ecofeminism and Agriculture in A Thousand Acres and Antonia's Line 94 9: The Kitchen Panopticon: Indeterminacy and the Myth of Objective Surveillance 10: Filming and Eating Italian: Big Night and Dinner Rush 11: A Chef in Love: The Fable of a Communist and Culinary Re-Evolution 12: The Artist in Exile: Babette's and "Alexander's Feast" 13: Family Suppers and the Social Syntax of Dissimilation 14: Food Fights: The Martial Chefs and Magical Arts of Asian Cinema Conclusion Appendix: Food Films Bibliography Index
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