Academic Video Online makes video material available with curricular relevance: documentaries, interviews, performances, news programs and newsreels, and more. Search for award-winning films including Academy®, Emmy®, and Peabody® winners and access content from PBS, BBC, 60 MINUTES, National Geographic, Annenberg Learner, BroadwayHD™, A+E Networks’ HISTORY® and more. Academic Video Online: Premium covers all disciplines and subject areas, with specific strengths in: Anthropology; Counseling & Therapy; Art, Fashion & Design; Business & Economics; Diversity Studies; Documentary Film; Feature Film; Education; History; Music & Dance; News & Current Events; Theatre & Drama. It also provides content in nursing; allied health; criminal justice; engineering; and science.
Covers journal literature in Art, Architecture, Design, History, Philosophy, Music, Literature, Theatre and Cultural Studies. It is designed to complement the following indexes: ABM, Avery, BHA, BHI, DAAI, Index Islamicus, MLA, Philosopher's Index and RILM.
This resource is provided by the Massachusetts Board of Library Commissioners (MBLC) in partnership with the Massachusetts Library System (MLS). The purchase is supported by funding from the Institute of Museum and Library Services (IMLS) and the Commonwealth of Massachusetts.
A collection of periodicals supporting pop culture, with articles on popular culture analysis and more. This resource is provided by the Massachusetts Board of Library Commissioners (MBLC) in partnership with the Massachusetts Library System (MLS). The purchase is supported by funding from the Institute of Museum and Library Services (IMLS) and the Commonwealth of Massachusetts.
Filming Difference by
Addressing representation and identity in a variety of production styles and genres, including experimental film and documentary, independent and mainstream film, and television drama, Filming Difference poses fundamental questions about the ways in which the art and craft of filmmaking force creative people to confront stereotypes and examine their own identities while representing the complexities of their subjects. Selections range from C. A. Griffith's "Del Otro Lado: Border Crossings, Disappearing Souls, and Other Transgressions" and Celine Perreñas Shimizu's "Pain and Pleasure in the Flesh of Machiko Saito's Experimental Movies" to Christopher Bradley's "I Saw You Naked: 'Hard' Acting in 'Gay' Movies," along with Kevin Sandler's interview with Paris Barclay, Yuri Makino's interview with Chris Eyre, and many other perspectives on the implications of film production, writing, producing, and acting. Technical aspects of the craft are considered as well, including how contributors to filmmaking plan and design films and episodic television that feature difference, and how the tools of cinema--such as cinematography and lighting--influence portrayals of gender, race, and sexuality. The struggle between economic pressures and the desire to produce thought-provoking, socially conscious stories forms another core issue raised in Filming Difference. Speaking with critical rigor and creative experience, the contributors to this collection communicate the power of their media.
Gender and Contemporary Horror in Film by
The horror genre will always remain current because it reflects our anxieties, shining a light onto our worst fears whilst creating worlds defined by darkness. Horror as a genre has always engaged with era-specific societal mores and moral panics, often about isolation or abandonment, changing family values and the role of women. It is often specifically about how gender is constructed in everyday life. Women are commonly defined in horror by their passivity, or monstrosity/sexuality or victimhood - or a mix of the three. At the same time women in horror are forced into psychological and physical torture ending in violent showdowns in which they emerge damaged but triumphant. Bringing together research from a wide range of established and emerging scholars this edited collection provides an insight into how modern horror films portray femininities, sexualities, masculinities, ageing, and other current issues, exploring the use of vampires, zombies, werewolves and ghosts in films made internationally. This volume, one of three by the same editorial team examining the horror genre, focuses on gender and contemporary horror in film, asking questions about how and if representations of gender in horror have changed. In these readings and re-readings, the authors examine developments in films about vampires, zombies, werewolves and ghosts, in films made internationally.
New Queer Cinema by
B. Ruby Rich designated a brand new genre, the New Queer Cinema (NQC), in her groundbreaking article in the Village Voice in 1992. This movement in film and video was intensely political and aesthetically innovative, made possible by the debut of the camcorder, and driven initially by outrage over the unchecked spread of AIDS. The genre has grown to include an entire generation of queer artists, filmmakers, and activists. As a critic, curator, journalist, and scholar, Rich has been inextricably linked to the New Queer Cinema from its inception. This volume presents her new thoughts on the topic, as well as bringing together the best of her writing on the NQC. She follows this cinematic movement from its origins in the mid-1980s all the way to the present in essays and articles directed at a range of audiences, from readers of academic journals to popular glossies and weekly newspapers. She presents her insights into such NQC pioneers as Derek Jarman and Isaac Julien and investigates such celebrated films as Go Fish, Brokeback Mountain, Itty Bitty Titty Committee, and Milk. In addition to exploring less-known films and international cinemas (including Latin American and French films and videos), she documents the more recent incarnations of the NQC on screen, on the web, and in art galleries.
Spectatorship by
Media platforms continually evolve, but the issues surrounding media representations of gender and sexuality have persisted across decades. Spectator: The University of Southern California Journal of Film and Television Criticism has published groundbreaking articles on gender and sexuality, including some that have become canonical in film studies, since the journal's founding in 1982. This anthology collects seventeen key articles that will enable readers to revisit foundational concerns about gender in media and discover models of analysis that can be applied to the changing media world today. Spectatorship begins with articles that consider issues of spectatorship in film and television content and audience reception, noting how media studies has expanded as a field and demonstrating how theories of gender and sexuality have adapted to new media platforms. Subsequent articles show how new theories emerged from that initial scholarship, helping to develop the fields of fandom, transmedia, and queer theory. The most recent work in this volume is particularly timely, as the distinctions between media producers and media spectators grow more fluid and as the transformation of media structures and platforms prompts new understandings of gender, sexuality, and identification. Connecting contemporary approaches to media with critical conversations of the past, Spectatorship thus offers important points of historical and critical departure for discussion in both the classroom and the field.
Transnational Feminism in Film and Media by
This collection of interdisciplinary essays examines current cinematic and media landscapes from the perspective of transnational feminist practices and methodologies. Focusing on film, media art, and video essays, the contributors chart innovative strategies for exploring contemporary visual cultures.
Women's Cinema, World Cinema by
In Women's Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women's Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture.
