E. Ann Kaplan - Böcker

This book brings together carefully selected essays on feminism and film with a view to tracing major developments in theory, criticism, and practices of women and cinema from 1973 to the present day. It illuminates the powerful, if controversial, role feminist research has played in the emergence of Film Studies as a discipline during these years; reprinting influential 1970s pioneering essays tracing the ensuing debates and challenges to key theories that shaped this field in the next two decades. Kaplan details the Euro-American contexts within which feminist film theories and practices emerged and traces the changing influences of French, German, and American intellectual movements on feminist film research. As well as a wide-ranging introduction which sets the selection of essays in context, readers will find examples of social-role, psychoanalytic, structuralist, post-structuralist, gay and lesbian, postmodern and postcolonial feminist film criticism, prefaced by introductory notes and including further readings.

From novels of the nineteenth century to films of the 1990s, American culture, abounds with images of white, middle-class mothers. In Motherhood and Representation, E. Ann Kaplan considers how the mother appears in three related spheres: the historical, in which she charts changing representations of the mother from 1830 to the postmodernist present; the psychoanalytic, which discusses theories of the mother from Freud to Lacan and the French Feminists; and the mother as she is figured in cultural representations: in literary and film texts such as East Lynne, Marnie and the The Handmaid's Tale, as well as in journalism and popular manuals on motherhood. Kaplan's analysis identifies two dominant paradigms of the mother as `Angel' and `Witch', and charts the contesting and often contradictory discourses of the mother in present-day America.

"Written with unequivocal enthusiasm for film, feminism and theory, "Women and Film" is a welcome and useful guide to a complex area."--"The Arts"

These fifteen carefully chosen essays by well-known scholars demonstrate the vitality and variety of psychoanalytic film criticism, as well as the crucial role feminist theory has played in its development. Among the films discussed are Duel in the Sun, The Best Yearsof Our Lives, Three Faces of Eve, Tender is the Night,Pandora's Box, Secrets of the Soul, and the works of Jacques Tourneur (director of The Cat People and other features).

What happens when white people look at non-whites? What happens when the gaze is returned? Looking for the Other responds to criticisms leveled at white feminist film theory of the 1970s and 1980s for its neglect of issues to do with race. It focuses attention on the male gaze across cultures, as illustrated by women filmmakers of color whose films deal with travel.Looking relations are determined by history, tradition, myth; by national identity, power hierarchies, politics, economics, geographical and other environment. Travel implicitly involves looking at, and looking relations with, peoples different from oneself. Featured films include Birth of a Nation, The Cat People, Home of theBrave, Black Narcissus, Chocolat, and Warrior Marks. Featured filmmakers include D.W.Griffith, Jacques Tourneur, Michael Powell, Julie Dash, Pratibha Parmar, Trinh T. Min-ha, and Claire Denis.

"Eloquent, provocative, and timely, these essays provide a thoughtful, undoctrinaire defense of the centrality of the humanities to higher education--and society--at the millennium."--Cora Kaplan, University of Southampton The crisis in the humanities and higher education intensifies daily. The partisan din drowns out the voices of those thinkers who have resisted the seductions of strong ideology. Against the tendencies of the extreme attacks on higher education from the right and the counterattacks from the left, many academics would prefer to get beyond critical fashions and easy slogans. In this collection, leading scholars demonstrate how the current furor threatens the critical analysis of culture, so vital to a healthy society. They explore the historical sources of the crisis, the relations between politics and research, the responsibilities and possibilities of the academic intellectual, the structure of the institution of the university, the functions and achievements of the humanities, and the development of interdisciplinarity as a catalyst for change. This volume is a necessary resource for understanding the current crisis and for transforming the academy as we approach the twenty-first century. The contributors are Jonathan Arac, Lauren Berlant, Peter Brooks, Roman de la Campa, Myra Jehlen, Stanley Katz, Richard Kramer, Dominick LaCapra, George Levine, Ellen Messer-Davidow, Helene Moglen, Bill Readings, and Bruce Robbins. E. Ann Kaplan is the director of The Humanities Institute at the State University of New York at Stony Brook

It may be said that every trauma is two traumas or ten thousand-depending on the number of people involved. How one experiences and reacts to an event is unique and depends largely on one's direct or indirect positioning, personal psychic history, and individual memories. But equally important to the experience of trauma are the broader political and cultural contexts within which a catastrophe takes place and how it is "managed" by institutional forces, including the media.In Trauma Culture, E. Ann Kaplan explores the relationship between the impact of trauma on individuals and on entire cultures and nations. Arguing that humans possess a compelling need to draw meaning from personal experience and to communicate what happens to others, she examines the artistic, literary, and cinematic forms that are often used to bridge the individual and collective experience. A number of case studies, including Sigmund Freud's Moses and Monotheism, Marguerite Duras' La Douleur, Sarah Kofman's Rue Ordener, Rue Labat, Alfred Hitchcock's Spellbound, and Tracey Moffatt's Night Cries, reveal how empathy can be fostered without the sensationalistic element that typifies the media.From World War II to 9/11, this passionate study eloquently navigates the contentious debates surrounding trauma theory and persuasively advocates the responsible sharing and translating of catastrophe.

Louis Althusser remained until his death in 1990 the most controversial of the "master thinkers" who emerged from the turbulent Parisian intellectual scene of the 1960s. The publication of his bestselling posthumous "autobiography", L'avenir dure longtemps, has now refueled some of these controversies. Hugely influential, whether lauded or vilified, Althusser occupies a unique place in contemporary philosophy. What is certain is that Althusserian themes and motifs continue to constitute a vital region in materialist thought.The Althusserian Legacy is the first collective attempt to draw up a balance sheet, not on Althusser alone but on the questions that his work helped to bring to the forefront of Marxist theory. The volume brings together work in history, philosophy, economics, sociology, and literary criticism, all of it derived from or significantly inflected by Althusser. Taken together, the essays assess soberly, critically, but always generously, the full extent of his legacy.The volume contains a lengthy interview with Jacques Derrida, a long-time friend and colleague of Althusser at the École Normale in Paris, and concludes with obituaries by Derrida and Gregory Elliott. Perhaps only now, more than a decade after his active intellectual life has come to a close, is it possible to render sound, just judgments on the meaning and significance of this much-debated body of work. The Althusserian Legacy is a rich beginning to that important task.

On the current battlefield of cultural criticism and production, no term has been more vigorously contested than 'postmodernism'. Defying clear definition, yet persisting as an indispensable category, it has become one of the central topics in the theory and practice of contemporary culture.Postmodernism and Its Discontents collects some of the major theoretical statements in this debate, including the key intervention of Fredric Jameson, and pits them against original contributions by a range of younger writers who explore the terrain of postmodernism in a variety of cultural practices. Essays on poetry and punk culture, recent American fiction, rock videos, Hollywood and foreign film, and sports and soap operas complement more directly theoretical pieces which tackle, to repeat the title of one essay, 'what is at stake in the debate on postmodernism.'Above all, this collection is distinguished by its steadfast refusal to elide the determinate political issues posed by postmodernism. Each of the essays insists upon the materiality of cultural production, locating various post-modernist practices in the social conditions of contemporary life, including the overarching structures of gender and class.

These fifteen carefully chosen essays by well-known scholars demonstrate the vitality and variety of psychoanalytic film criticism, as well as the crucial role feminist theory has played in its development. Among the films discussed are Duel in the Sun, The Best Yearsof Our Lives, Three Faces of Eve, Tender is the Night,Pandora's Box, Secrets of the Soul, and the works of Jacques Tourneur (director of The Cat People and other features).

From novels of the nineteenth century to films of the 1990s, American culture, abounds with images of white, middle-class mothers. In Motherhood and Representation, E. Ann Kaplan considers how the mother appears in three related spheres: the historical, in which she charts changing representations of the mother from 1830 to the postmodernist present; the psychoanalytic, which discusses theories of the mother from Freud to Lacan and the French Feminists; and the mother as she is figured in cultural representations: in literary and film texts such as East Lynne, Marnie and the The Handmaid's Tale, as well as in journalism and popular manuals on motherhood. Kaplan's analysis identifies two dominant paradigms of the mother as `Angel' and `Witch', and charts the contesting and often contradictory discourses of the mother in present-day America.

"Written with unequivocal enthusiasm for film, feminism and theory, "Women and Film" is a welcome and useful guide to a complex area."--"The Arts"

The first non-stop rock video channel was launched in the US in 1981. As a unique popular culture form, MTV warrants attention, and in this, the first study of the medium, originally published in 1987, Ann Kaplan examines the cultural context of MTV and its relationship to the history of rock music. The first part of the book focuses on MTV as a commercial institution, on the contexts of production and exhibition of videos, on their similarity to ads, and on the different perspectives of directors and viewers. Does the adoption of adolescent styles and iconography signal an open-minded acceptance of youth’s subversive stances; or does it rather suggest a cynicism by which profit has become the only value?In the second part of the book, Kaplan turns to the rock videos themselves, and from the mass of material that flows through MTV she identifies five distinct types of video: the ‘romantic’, the ‘socially conscious’, the ‘nihilistic’, the ‘classical’, and the ‘postmodern’. There are detailed analyses of certain videos; and Kaplan focuses particularly on gender issues in videos by both male and female stars. The final chapter explores the wider implications of MTV. What does the channel tell us about the state of youth culture at the time?

The first non-stop rock video channel was launched in the US in 1981. As a unique popular culture form, MTV warrants attention, and in this, the first study of the medium, originally published in 1987, Ann Kaplan examines the cultural context of MTV and its relationship to the history of rock music. The first part of the book focuses on MTV as a commercial institution, on the contexts of production and exhibition of videos, on their similarity to ads, and on the different perspectives of directors and viewers. Does the adoption of adolescent styles and iconography signal an open-minded acceptance of youth’s subversive stances; or does it rather suggest a cynicism by which profit has become the only value?In the second part of the book, Kaplan turns to the rock videos themselves, and from the mass of material that flows through MTV she identifies five distinct types of video: the ‘romantic’, the ‘socially conscious’, the ‘nihilistic’, the ‘classical’, and the ‘postmodern’. There are detailed analyses of certain videos; and Kaplan focuses particularly on gender issues in videos by both male and female stars. The final chapter explores the wider implications of MTV. What does the channel tell us about the state of youth culture at the time?

Spanning time and space from late Victorian Britain and Ireland to postwar America and Latin America, Late Imperial Culture maps crucial regions in the terrain of imperial cultural practices including theater, film, photography, fiction, autobiography, and body art. The forms reviewed in this lively collection range from those which accept and reproduce empire's dominant self-images to scathing critiques of the oppressions that colonialism has visited upon its subjects and the price it continues to exact from them.A diverse range of theoretically sophisticated and historically informed contributors take as given two fundamental facts about the culture of imperialism: firstly, that it has a long and complex history which, in the present epoch, merits its being designated "late"; and, secondly, that its impact on the contemporary world is far from exhausted. Together they highlight the contradictions in the serried cultural practices of imperialism in its different historical periods.Contributors: Aijaz Ahmad, Steven Cagan, Román de la Campa, David Glover, May Joseph, Caren Kaplan, Rob Nixon, Ella Shohat, Robert Stam, and Marianna Torgovnick.