Karen A. Ritzenhoff - Böcker

How can love be understood globally as a problematic transgression rather than the narrative of "happy endings" that Hollywood has offered? The contributors utilize varying methodologies of textual analysis, psychoanalytic models, and cultural critique and engage with a broad range of films to explore issues of gender identity and spectatorship.

Over the last several decades, the boundaries of languages and national and ethnic identities have been shifting, altering the notion of borders around the world. Borderland areas, such as East and West Europe, the US/Mexican frontera, and the Middle East, serve as places of cultural transfer and exchange, as well as arenas of violent conflict and segregation. As communities around the world merge across national borders, new multi-ethnic and multicultural countries have become ever more common.Border Visions: Identity and Diaspora in Film offers an overview of global cinema that addresses borders as spaces of hybridity and change. In this collection of essays, contributors examine how cinema portrays conceptions of borderlands informed by knowledge, politics, art, memory, and lived experience, and how these constructions contribute to a changing global community. These essays analyze a variety of international feature films and documentaries that focus on the lives, cultures, and politics of borderlands. The essays discuss the ways in which conflicts and their resolutions occur in borderlands and how they are portrayed on film. The volume pays special attention to contemporary Europe, where the topic of shifting border identities is one of the main driving forces in the processes of European unification.Among the filmmakers whose work is discussed in this volume are Fatih Akin, Montxo Armendàriz, Cary Fukunaga, Christoph Hochhäusler, Holger Jancke, Emir Kusturica, Laila Pakalnina, Alex Rivera, Larissa Shepitko, Andrea Staka, Elia Suleiman, and István Szabó. A significant contribution to the dialogue on global cinema, Border Visions will be of interest to students and scholars of film, but also to scholars in border studies, gender studies, sociology, and political science.

This volume features a set of thought-provoking and long overdue approaches to situating Stanley Kubrick’s films in contemporary debates around gender, race, and age—with a focus on women’s representations.Offering new historical and critical perspectives on Kubrick’s cinema, the book asks how his work should be viewed bearing in mind issues of gender equality, sexual harassment, and abuse. The authors tackle issues such as Kubrick’s at times questionable relationships with his actresses and former wives; the dynamics of power, misogyny, and miscegenation in his films; and auteur "apologism," among others. The selections delineate these complex contours of Kubrick’s work by drawing on archival sources, engaging in close readings of specific films, and exploring Kubrick through unorthodox venture points.With an interdisciplinary scope and social justice-centered focus, this book offers new perspectives on a well-established area of study. It will appeal to scholars and upper-level students of film studies, media studies, gender studies, and visual culture, as well as to fans of the director interested in revisiting his work from a new perspective.

This volume features a set of thought-provoking and long overdue approaches to situating Stanley Kubrick’s films in contemporary debates around gender, race, and age—with a focus on women’s representations.Offering new historical and critical perspectives on Kubrick’s cinema, the book asks how his work should be viewed bearing in mind issues of gender equality, sexual harassment, and abuse. The authors tackle issues such as Kubrick’s at times questionable relationships with his actresses and former wives; the dynamics of power, misogyny, and miscegenation in his films; and auteur "apologism," among others. The selections delineate these complex contours of Kubrick’s work by drawing on archival sources, engaging in close readings of specific films, and exploring Kubrick through unorthodox venture points.With an interdisciplinary scope and social justice-centered focus, this book offers new perspectives on a well-established area of study. It will appeal to scholars and upper-level students of film studies, media studies, gender studies, and visual culture, as well as to fans of the director interested in revisiting his work from a new perspective.

Filmic constructions of war heroism have a profound impact on public perceptions of conflicts. Here, contributors examine the ways motifs of gender and heroism in war films are used to justify ideological positions, shape the understanding of the military conflicts, support political agendas and institutions, and influence collective memory.

Humor and entertainment were vital to the war effort during World War I. While entertainment provided relief to soldiers in the trenches, it also built up support for the war effort on the home front. This book looks at transnational war culture by examining seemingly light-hearted discourses on the Great War.

How can love be understood globally as a problematic transgression rather than the narrative of "happy endings" that Hollywood has offered? The contributors utilize varying methodologies of textual analysis, psychoanalytic models, and cultural critique and engage with a broad range of films to explore issues of gender identity and spectatorship.

Filmic constructions of war heroism have a profound impact on public perceptions of conflicts. Here, contributors examine the ways motifs of gender and heroism in war films are used to justify ideological positions, shape the understanding of the military conflicts, support political agendas and institutions, and influence collective memory.

Humor and entertainment were vital to the war effort during World War I. While entertainment provided relief to soldiers in the trenches, it also built up support for the war effort on the home front. This book looks at transnational war culture by examining seemingly light-hearted discourses on the Great War.

Whether in mainstream or independent films, depictions of female prostitution and promiscuity are complicated by their intersection with male fantasies. In such films, issues of exploitation, fidelity, and profitability are often introduced into the narrative, where sex and power become commodities traded between men and women. In Selling Sex on Screen: From Weimar Cinema to Zombie Porn, Karen A. Ritzenhoff and Catriona McAvoy have assembled essays that explore the representation of women and sexual transactions in film and television. Included in these discussions are the films Breakfast at Tiffany’s, Eyes Wide Shut, L.A. Confidential, Pandora’s Box, and Shame and such programs as Buffy the Vampire Slayer and Gigolos. By exploring the themes of class differences and female economic independence, the chapters go beyond textual analysis and consider politics, censorship, social trends, laws, race, and technology, as well as sexual and gender stereotypes.By exploring this complex subject, Selling Sex on Screen offers a spectrum of representations of desire and sexuality through the moving image. This volume will be of interest not only to students and scholars of film but also researchers in gender studies, women’s studies, criminology, sociology, film studies, adaptation studies, and popular culture.

We live in a world at risk. Dire predictions about our future or the demise of planet earth persist. Even fictional representations depict narratives of decay and the end of a commonly shared social reality. Along with recurring Hollywood blockbusters that imagine the end of the world, there has been a new wave of zombie features as well as independent films that offer various visions of the future. The Apocalypse in Film: Dystopias, Disasters, and Other Visions about the End of the World offers an overview of Armageddon in film from the silent era to the present. This collection of essays discusses how such films reflect social anxieties—ones that are linked to economic, ecological, and cultural factors. Featuring a broad spectrum of international scholars specializing in different historical genres and methodologies, these essays look at a number of films, including the silent classic The Four Horsemen of the Apocalypse, the black comedy Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, the Mayan calendar disaster epic, 2012, and in particular, Lars Von Trier’s Melancholia, the focus of several essays.As some filmmakers translate the anxiety about a changing global climate and geo-political relations into visions of the apocalypse, others articulate worries about the planet’s future by depicting chemical warfare, environmental disasters, or human made destruction. This book analyzes the emergence of apocalyptic and dystopic narratives and explores the political and social situations on which these films are based. Contributing to the dialogue on dystopic culture in war and peace, The Apocalypse in Film will be of interest to scholars in film and media studies, border studies, gender studies, sociology, and political science.

The Handmaid's Tale: Teaching Dystopia, Feminism, and Resistance across Disciplines and Borders offers an interdisciplinary analysis of how Margaret Atwood's The Handmaid's Tale, as well as its film and television adaptations, can be employed across different academic fields in high school, college and university classrooms. Scholars from a variety of disciplines and cultural contexts contribute to wide-ranging analytical strategies, ranging from religion and science to the role of journalism in democracy, while still embracing gender studies in a broader methodological and theoretical framework. The volume examines both the formal and stylistic ways in which Atwood's classic work and its adaptations can be brought to life in the classroom through different lenses and pedagogies.

In this edited volume, contributors engage with Barbie (Greta Gerwig, 2023) and Oppenheimer (Christopher Nolan, 2023) through the lens of the Barbenheimer fad, an online and in-person phenomenon — coined by critics and co-opted by fans — that celebrated the counterprogramming of these two divergent films.By framing Barbenheimer as a syndrome, the book revisits this moment in time to consider the elements that constituted the phenomenon on a global scale and to interrogate the logics through which this cultural spectacle may be symptomatic of larger cultural forces and social changes occurring at the time of release. Through the convergence of an interdisciplinary and global range of perspectives, Barbenheimer Syndrome interprets Barbie, Oppenheimer, and Barbenheimer within different cultural contexts to demonstrate both the universal and specific iterations of the phenomenon that struck such a cultural nerve in the summer of 2023.

Afrofuturism in Black Panther: Gender, Identity, and the Re-making of Blackness, through an interdisciplinary and intersectional analysis of Black Panther, discusses the importance of superheroes and the ways in which they are especially important to Black fans. Aside from its global box office success, Black Panther paves the way for future superhero narratives due to its underlying philosophy to base the story on a narrative that is reliant on Afro-futurism. The film’s storyline, the book posits, leads viewers to think about relevant real-world social questions as it taps into the cultural zeitgeist in an indelible way. Contributors to this collection approach Black Panther not only as a film, but also as Afrofuturist imaginings of an African nation untouched by colonialism and antiblack racism: the film is a map to alternate states of being, an introduction to the African Diaspora, a treatise on liberation and racial justice, and an examination of identity. As they analyze each of these components, contributors pose the question: how can a film invite a reimagining of Blackness?

Afrofuturism in Black Panther: Gender, Identity, and the Re-making of Blackness, through an interdisciplinary and intersectional analysis of Black Panther, discusses the importance of superheroes and the ways in which they are especially important to Black fans. Aside from its global box office success, Black Panther paves the way for future superhero narratives due to its underlying philosophy to base the story on a narrative that is reliant on Afro-futurism. The film’s storyline, the book posits, leads viewers to think about relevant real-world social questions as it taps into the cultural zeitgeist in an indelible way. Contributors to this collection approach Black Panther not only as a film, but also as Afrofuturist imaginings of an African nation untouched by colonialism and antiblack racism: the film is a map to alternate states of being, an introduction to the African Diaspora, a treatise on liberation and racial justice, and an examination of identity. As they analyze each of these components, contributors pose the question: how can a film invite a reimagining of Blackness?

New Perspectives on the War Film addresses the gap in the representation of many forgotten faces of war in mainstream movies and global mass media.

New Perspectives on the War Film addresses the gap in the representation of many forgotten faces of war in mainstream movies and global mass media.

Mediated Terrorism in the 21st Century offers new interpretations of figures emerging from representations of terrorism and counterterrorism: the male hero, female agent, religious leader, victim/perpetrator, and survivor.

Mediated Terrorism in the 21st Century offers new interpretations of figures emerging from representations of terrorism and counterterrorism: the male hero, female agent, religious leader, victim/perpetrator, and survivor.

This first of two volumes explores how contemporary Asian popular culture reflects and critiques social issues. It showcases ongoing developments in Asian popular culture in the wake of the global popularity of Squid Game and in anticipation of its second season release in December 2024.

This first of two volumes explores how contemporary Asian popular culture reflects and critiques social issues. The authors, from different scholarly backgrounds, examine how shows like Squid Game present a scathing critique of oppressive socio-economic structures, conceptualize national heterotopias, utopias, and dystopias, and facilitate understanding of identity formation and discourses of resistance. The volume encompasses chapters discussing themes that intersect gender, race, politics, and social dynamics. It showcases ongoing developments in Asian popular culture in the wake of the global popularity of Squid Game and in anticipation of its second season release in December 2024.

This second of two volumes explores broader cultural, economic, and socio-political dynamics exchanged between Asian popular media and the world. They discuss how dissemination and consumption of Asian popular culture, such as early Chinese-language movie theaters, Netflix, subtitling of Asian content, impact the popularity of cultural contents.

This second of two volumes explores broader cultural, economic, and socio-political dynamics exchanged between Asian popular media and the world. The authors analyze how the said media navigate complex global markets and technological advancements. They discuss how dissemination and consumption of Asian popular culture, such as early Chinese-language movie theaters, Netflix, subtitling of Asian content, impact the popularity of cultural contents. They also examine the portrayal of ajummas (middle-aged women) in Korean TV and film, along with the varying representations of utopia and dystopia embedded in Asian science fiction. This volume illustrates the soft power of media in transnational exchanges.