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Aftershocks of the New
Feminism and Film History
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Description de l'ouvrage:
The beginning of this century has brought with it a host of assumptions about the newness of our technologies, globalized economies, and transnational media practices. Our own time is a period marked by experiences of fragmentation, sensation, and shock. The essays here are joined by a common concern to chart another side to modernity—precisely after the shock of the new—when the new ceases to be shocking, and when the extraordinary and the sensational become linked to the boring and the everyday. Patrice Petro explores how the mechanisms of modernism, German cinema, and feminist film theory have evolved, and she discusses the directions in which they are headed.
Petro’s essays—some published here for the first time—raise such questions as: What roles do television and other media play in film studies? What is the place of feminist film theory in our conceptions of film history? How is German film theory situated within international film theory?
Rather than continue to sensationalize sensation, Aftershocks of the New aims to lower the volume of debates over the place of cinema within the culture of modernity. And it accomplishes this by locating them within a more complex matrix of contending sensibilities, voices, and impulses.
À propos de l'auteur :
Patrice Petro teaches film studies in the English department at the University of Wisconsin-Milwaukee, where she is also the director of the Center for International Education. She is the author of Joyless Streets: Women and Melodramatic Representation in Weimar Germany, and the editor of Fugitive Images: From Photography to Video.
Revue de Presse:
In this vibrant collection of essays, Patrice Petro draws on her capacious understanding of feminist theory and German film theory to articulate what is, was, and should be at stake in our interpretive practices. Whether analyzing the disorienting photomontages of Hannah H÷ch, the disturbing portraits of Otto Dix, or the charged performance of Marlene Dietrich in Blonde Venus, Petro remains firmly in command of historical contexts, theoretical implications, and ideological consequences.
— Maria Tatar
Patrice PetroÆs Aftershocks of the New is unified by a focus on the connection between feminist film criticism and historical research. It also invokes a history of the film studies discipline (including television) as she rehearses and comments upon some of the major debates in the field over the past two decades.
— Lucy Fischer
Voir le site internet de l'éditeur Rutgers University Press
> Du même auteur :
The Routledge Companion to Cinema & Gender (2018)
de Kristin Hole, Dijana Jelača, E. Kaplan et Patrice Petro
Sujet : Sociology
Global Cities (2003)
Cinema, Architecture, and Urbanism in a Digital Age
Dir. Patrice Petro et Linda Krause
Sujet : Economics
Joyless Streets (1989)
Women and Melodramatic Representation in Weimar Germany
> Sur un thème proche :
Sustainable Resilience in Women's Film and Video Organizations (2024)
A Counter-Lineage in Moving Image History
Sujet : Sociology
Independent Women (2023)
From Film to Television
Dir. Claire Perkins et Michele Schreiber
Sujet : Sociology
There She Goes Again (2023)
Gender, Power, and Knowledge in Contemporary Film and Television Franchises
Sujet : Sociology
The Avenging-Woman On-Screen (2023)
Female Empowerment and Feminist Possibilities
de Lara C. Stache et Rachel D. Davidson
Sujet : Sociology
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