Eva Rueschmann – författare
Visar alla böcker från författaren Eva Rueschmann. Handla med fri frakt och snabb leverans.
3 produkter
3 produkter
963 kr
Skickas inom 11-20 vardagar
Perhaps the most vital, emotionally complex, and lasting attachments between women occur between sisters. Whether as best friends or antagonists, \u0022sisters remain entangled in a common tapestry of mutual experience and remembrance, family and history,\u0022 according to author Eva Ruschmann. Although many of the women-centered films in the last three decades depict the relationship between sisters as a pivotal aspect of a character's psychological development, the now substantial body of feminist film criticism has not taken up this theme in any sustained way. In Sisters on Screen, Eva Rueschmann explores the sister bond in a wide range of modernist feature films that depart from the conventional cinematic rendering of women's lives. Drawing on the psychoanalytic concept of intersubjectivity, this book emphasizes the role of a woman's relationship and inner world in her continual quest for self-knowledge.Offering an original and absorbing perspective on women's filmic images, Sisters on Screen reveals how post-1960s cinema has articulated the way sin which biological sisters negotiate mutuality and difference, co-author family histories, and profoundly shape each other's political and personal identities. The films in focus question standards of femininity as they probe in to memory, fantasy, and desire, bringing women's realities into view in the process. Structuring her discussion in terms of life-cycle stages -- adolescence and adulthood -- Rueschmann offers an in-depth discussion of such films as An Angel at my Table, Double Happiness, Eve's Bayou, Gas Food Lodging, Heavenly Creatures, Little Women, Marianne and Juliane, Paura e amore, Peppermint Soda, The Silence, Sweetie, and Welcome to the Dollhouse. Rueschmann draws upon the works of filmmakers from the 1970s to the 1990s. Some of the directors included in her study are Allison Anders, Gillian Armstrong, Ingmar Bergman, Jane Campion, Peter Jackson, Mina Shum, Diane Kurys, Kasi Lemmons, Todd Solondz, and Margarethe von Trotta.Sisters on Screen will appeal to anyone interested in women's studies, film studies, psychoanalytic readings of cinema, women directors, and international modern film.
356 kr
Skickas inom 5-8 vardagar
Perhaps the most vital, emotionally complex, and lasting attachments between women occur between sisters. Whether as best friends or antagonists, \u0022sisters remain entangled in a common tapestry of mutual experience and remembrance, family and history,\u0022 according to author Eva Ruschmann. Although many of the women-centered films in the last three decades depict the relationship between sisters as a pivotal aspect of a character's psychological development, the now substantial body of feminist film criticism has not taken up this theme in any sustained way. In Sisters on Screen, Eva Rueschmann explores the sister bond in a wide range of modernist feature films that depart from the conventional cinematic rendering of women's lives. Drawing on the psychoanalytic concept of intersubjectivity, this book emphasizes the role of a woman's relationship and inner world in her continual quest for self-knowledge.Offering an original and absorbing perspective on women's filmic images, Sisters on Screen reveals how post-1960s cinema has articulated the way sin which biological sisters negotiate mutuality and difference, co-author family histories, and profoundly shape each other's political and personal identities. The films in focus question standards of femininity as they probe in to memory, fantasy, and desire, bringing women's realities into view in the process. Structuring her discussion in terms of life-cycle stages -- adolescence and adulthood -- Rueschmann offers an in-depth discussion of such films as An Angel at my Table, Double Happiness, Eve's Bayou, Gas Food Lodging, Heavenly Creatures, Little Women, Marianne and Juliane, Paura e amore, Peppermint Soda, The Silence, Sweetie, and Welcome to the Dollhouse. Rueschmann draws upon the works of filmmakers from the 1970s to the 1990s. Some of the directors included in her study are Allison Anders, Gillian Armstrong, Ingmar Bergman, Jane Campion, Peter Jackson, Mina Shum, Diane Kurys, Kasi Lemmons, Todd Solondz, and Margarethe von Trotta.Sisters on Screen will appeal to anyone interested in women's studies, film studies, psychoanalytic readings of cinema, women directors, and international modern film.
279 kr
Skickas inom 10-15 vardagar
In recent decades the experiences and political struggles of immigrants, exiles, and sojourners have inspired some of the most provocative feature films and documentaries in world cinema. These have sparked theoretical debates about cultural identity, place, and representation in the media. The thirteen essays in this anthology contribute to a growing interest in the emerging international genre of exile and diaspora films, treating a variety of motion pictures from Europe and the United States in their national and transnational contexts. These essays examine how contemporary cinema--both fiction feature film and documentary--has imagined the experience of migration and displacement, the struggle for citizenship and cultural belonging, and the encounter and negotiation of different cultures and identities. The authors discuss the ways cinema explores the many contradictions of exile and diaspora--the complicated meanings of home, the exile's nostalgia for origins, the hopes and tragedies of border crossings, the difficulties of belonging to a strange society and being a stranger, and the conundrums of gender for the migrant, especially women's conciliation of different social roles and cultural expectations. Included are discussions of such well known films as The Crying Game, Lamerica, Journey of Hope, Exotica, Chocolat, Lone Star, and Flying Down to Rio, as well as smaller productions by diasporic or immigrant filmmakers who deserve critical attention, including Seyhan Derin's I'm My Mother's Daughter, Mina Shum's Double Happiness, and Yanina Benguigui's Immigrant Memories: Maghrebi Heritage. Encompassing different models of intercultural theory, this collection draws on the fields of anthropology, political economy, production and reception studies, feminism, travel writing, and postcolonial criticism and captures the complex, diverse, and continually changing body of diaspora film and its intertextual connections. Eva Rueschmann is an assistant professor of cultural studies at Hampshire College, the author of Sisters on the Screen: Siblings in Contemporary Cinema, and a contributor to two anthologies, International Women's Writing: New Landscapes of Identities and The Significance of Sibling Relationships in Literature.