Traversing classical Hollywood to the cinema of Park Chan-wook, Gina Kim, and Ramona Diaz, and Cannes award-winning director Brilliante Mendoza, The Proximity of Other Skins looks at transnational films that achieved global prominence by presenting a different cinematic language of love and sex.
Traversing classical Hollywood to the cinema of Park Chan-wook, Gina Kim, and Ramona Diaz, and Cannes award-winning director Brilliante Mendoza, The Proximity of Other Skins looks at transnational films that achieved global prominence by presenting a different cinematic language of love and sex.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Professor Celine Parreñas Shimizu is Director of the School of Cinema at San Francisco State University. She is the author of The Hypersexuality of Race (2007), Straitjacket Sexualities (2012) and co-editor of The Feminist Porn Book (2013) and The Unwatchability of Whiteness, a special issue of Asian Diasporas and Visual Cultures of the Americas (2018). Her films include The Celine Archive (2019), The Fact of Asian Women (2004) and Birthright: Mothering Across Difference (2009). She has written numerous peer-reviewed articles in the top journals in the fields of cinema, performance, ethnic, feminist, sexuality studies and transnational popular culture in Asia and Asian America including Cinema Journal, Concentric, Film Quarterly, Frontiers, Journal of Asian American Studies, positions, Sexualities, Signs, Theater Journal, and Yale Journal of Law and Feminism.
Inhaltsangabe
* 1. Introduction: Subject/ Abject Relations in Those Long Haired Nights (2017) and Call Her Ganda (2018) * 2. (Rich) White Women, (Poor) Brown Men, and Sexual Settings: Political and Libidinal Economies in Heading South (2005) and Never Forever (2007) * 3. The Compassion of Shared Spectatorship: Annihilation and Affliction in Brillante Mendoza's Tirador (2007), Serbis (2007) and Ma'Rosa (2016) * 4. Intimate Eruptions and the Embodied Montage: Performing Roles and Breaking Rules between Masters and Servants in The Housemaid (2011) and Handmaiden (2016) * 5. The Ethics of Representing Oneself and Others: Ramona Diaz's Imelda (2005) and David Byrne's Here Lies Love (2010-17) * 6. Epilogue: Memory and Death (2013-Present) * 7. References
* 1. Introduction: Subject/ Abject Relations in Those Long Haired Nights (2017) and Call Her Ganda (2018) * 2. (Rich) White Women, (Poor) Brown Men, and Sexual Settings: Political and Libidinal Economies in Heading South (2005) and Never Forever (2007) * 3. The Compassion of Shared Spectatorship: Annihilation and Affliction in Brillante Mendoza's Tirador (2007), Serbis (2007) and Ma'Rosa (2016) * 4. Intimate Eruptions and the Embodied Montage: Performing Roles and Breaking Rules between Masters and Servants in The Housemaid (2011) and Handmaiden (2016) * 5. The Ethics of Representing Oneself and Others: Ramona Diaz's Imelda (2005) and David Byrne's Here Lies Love (2010-17) * 6. Epilogue: Memory and Death (2013-Present) * 7. References
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