The Philosophy of TV Noir - Sanders, Steven M_.mobi

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"Brilliantly argued and lucidly written... the definitive psychoanalytic account of the repression of woman in Hollywood cinema." -- Tania Modleski"... complex and challenging... " -- The Women"s Review of Books"... magnificently ambitious... some of the most original and intelligent essays in film theory today." -- Journal of Modern Literature"... deeply commited to the psychoanalytic approach... " -- Contemporary SociologyThe Desire to Desire traces the way in which female spectatorship is specified primarily by its lapses or failures, arguing that the women's film simultaneously asserts and denies female desire, attributing to the woman only an impossible gaze.

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"Combining the moviegoer's passion with the philosopher's analytic precision, Irving Singer shows how cinema has reinvigorated myths from times past to become our new folklore. Step by step we discover how films gather their iconic power and authority from Ovid, Homer, and others. Singer switches his critical abilities to maximum wattage, revealing that films work their magic by putting the banal and the ordinary in touch with the sublime." --Maria Tatar, John L. Loeb Professor of Germanic Languages and Literatures, Harvard University

Declarations of Independence American Cinema and the P....pdf

"A triumph for an informed, independent author unafraid to un-package the trade in cultural construction that simultaneously provides a socio-political reference through which critics and audience can attach certain films to popular movements and ideas." – Daniel Packer, Transition, Tradition (_Transition, Tradition_ ) "[Berra''s] conclusion is well made – it''s almost impossible for the indie film to establish economic independence from the mainstream, but we can still celebrate the cultural significance of its ''independent spirit''" – Douglas Allen, University of California Magazine (_UC Magazine_ )

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As celebrities sporting "baby bumps," politicians, Olympic athletes, and talk show guests, mothers are ubiquitous throughout U.S. media and popular culture. Like lightning rods, these high-profile mothers attract accolades and judgments associated with ideals of female sexuality, gender roles, and constructions of contemporary families. Motherhood Misconceived explores this widespread cultural fascination with motherhood through analyses of mothers in contemporary U.S. film, including both mainstream and independent cinematic representations. The contributors draw on a variety of critical approaches to consider the spectacle of pregnancy; mother-daughter relationships; mothers as predators, narcissists, and absent victims; and the ways in which cultural anxieties are displaced and projected onto marginalized mothers in films such as Fargo; Transamerica; Gas, Food, Lodging; Ordinary People; and Scream. Ideal for women's studies or film studies classes, Motherhood Misconceived will help students contextualize current debates about motherhood as they play out in popular and independent film.

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It is virtually impossible to watch a movie or TV show without preconceived notions because of the hype that precedes them, while a host of media extensions guarantees them a life long past their air dates. An onslaught of information from print media, trailers, internet discussion, merchandising, podcasts, and guerilla marketing, we generally know something about upcoming movies and TV shows well before they are even released or aired. The extras, or “paratexts,” that surround viewing experiences are far from peripheral, shaping our understanding of them and informing our decisions about what to watch or not watch and even how to watch before we even sit down for a show. Show Sold Separately gives critical attention to this ubiquitous but often overlooked phenomenon, examining paratexts like DVD bonus materials for The Lord of the Rings, spoilers for Lost, the opening credits of The Simpsons, Star Wars actions figures, press reviews for Friday Night Lights, the framing of Batman Begins, the videogame of The Thing, and the trailers for The Sweet Hereafter. Plucking these extra materials from the wings and giving them the spotlight they deserve, Jonathan Gray examines the world of film and television that exists before and after the show.

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