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Nachbeben des Neuen: Feminismus und Filmgeschichte von Patrice Petro: gebraucht
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eBay-Artikelnr.:364966544355
Artikelmerkmale
- Artikelzustand
- Book Title
- Aftershocks of the New: Feminism and Film History
- Publication Date
- 2001-11-01
- Pages
- 232
- ISBN
- 9780813529967
Über dieses Produkt
Product Identifiers
Publisher
Rutgers University Press
ISBN-10
0813529964
ISBN-13
9780813529967
eBay Product ID (ePID)
1884581
Product Key Features
Number of Pages
232 Pages
Language
English
Publication Name
Aftershocks of the New : Feminism and Film History
Subject
Feminism & Feminist Theory, Anthropology / Cultural & Social, Women's Studies, Film / History & Criticism
Publication Year
2001
Type
Textbook
Subject Area
Performing Arts, Social Science
Series
New Directions in International Studies
Format
Trade Paperback
Dimensions
Item Height
0.6 in
Item Weight
11.7 Oz
Item Length
8.9 in
Item Width
6 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2001-019803
Reviews
Patrice Petro's 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 as she rehearses and comments upon some of the major debates in the field over the past two decades. - Lucy Fischer, director of the film studies program, University of Pittsburgh, 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., 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.
Dewey Edition
21
Illustrated
Yes
Dewey Decimal
791.43/082
Table Of Content
Introduction The "place" of television in film studies Feminism and film history German film theory and Anglo-American film studies After shock, between boredom and history Historical ennui, feminist boredom World weariness, Weimar women, and visual culture Nazi cinema at the intersection of the classical and the popular The Hottentot and the Blonde Venus Film feminism and nostalgia for the seventies
Synopsis
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., 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., 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., 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.
LC Classification Number
PN1995
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AlibrisBooks
98,6% positive Bewertungen•1.9 Mio. Artikel verkauft
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Verkäuferbewertungen (512'305)
- t***s (509)- Bewertung vom Käufer.Letzter MonatBestätigter Kaufgood turnaround , well packed - would purchase from this seller again
- _***o (2200)- Bewertung vom Käufer.Letzter MonatBestätigter KaufShipped in a timely manner. Item as described. Great price. Thank you!
- r***e (65)- Bewertung vom Käufer.Letzter MonatBestätigter KaufBrand new book. Great condition and quick shipping!