Kate Taylor-Jones – författare
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9 produkter
9 produkter
1 380 kr
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From the precocious charms of Shirley Temple to the box-office behemoth Frozen and its two young female leads, Anna and Elsa, the girl has long been a figure of fascination for cinema.
1 111 kr
Kommande
This book explores and theorises female visions of Japanese girlhood in the work of three women directors: Ninagawa Mika, Miyake Kyoko and Ando Momoko. These directors are all highly diverse in their production background, outputs and style, and yet all three share a common preoccupation with visualizing moments of both girlhood and female ageing. The book takes at its core the debate on the aesthetics of gender - something all three women have engaged in - and explores the idea of feminist film historiography.
253 kr
Kommande
This book explores and theorises female visions of Japanese girlhood in the work of three women directors: Ninagawa Mika, Miyake Kyoko and Ando Momoko. These directors are all highly diverse in their production background, outputs and style, and yet all three share a common preoccupation with visualizing moments of both girlhood and female ageing. The book takes at its core the debate on the aesthetics of gender - something all three women have engaged in - and explores the idea of feminist film historiography.
2 005 kr
Skickas inom 10-15 vardagar
For many East Asian nations, cinema and Japanese Imperialism arrived within a few years of each other. Exploring topics such as landscape, gender, modernity and military recruitment, this study details how the respective national cinemas of Japan’s territories struggled under, but also engaged with, the Japanese Imperial structures. Japan was ostensibly committed to an ethos of pan-Asianism and this study explores how this sense of the transnational was conveyed cinematically across the occupied lands. Taylor-Jones traces how cinema in the region post-1945 needs to be understood not only in terms of past colonial relationships, but also in relation to how the post-colonial has engaged with shifting political alliances, the opportunities for technological advancement and knowledge, the promise of larger consumer markets, and specific historical conditions of each decade.
549 kr
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For many East Asian nations, cinema and Japanese Imperialism arrived within a few years of each other. Exploring topics such as landscape, gender, modernity and military recruitment, this study details how the respective national cinemas of Japan’s territories struggled under, but also engaged with, the Japanese Imperial structures. Japan was ostensibly committed to an ethos of pan-Asianism and this study explores how this sense of the transnational was conveyed cinematically across the occupied lands. Taylor-Jones traces how cinema in the region post-1945 needs to be understood not only in terms of past colonial relationships, but also in relation to how the post-colonial has engaged with shifting political alliances, the opportunities for technological advancement and knowledge, the promise of larger consumer markets, and specific historical conditions of each decade.
193 kr
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958 kr
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The contributors aim to consider how frequently 19th-century narratives of female prostitution—hence the label ‘fallen women’—are still recycled in contemporary visual contexts, and to understand how widespread, and in what contexts, the destigmatization of female sex work is underway on screen.
986 kr
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The contributors aim to consider how frequently 19th-century narratives of female prostitution—hence the label ‘fallen women’—are still recycled in contemporary visual contexts, and to understand how widespread, and in what contexts, the destigmatization of female sex work is underway on screen.
1 304 kr
Skickas inom 5-8 vardagar
Global Screen Worlds brings together scholars from around the world to collaborate on comparative studies of specific African and Asian cinemas and audiovisual narrative media. This open access collection advances the concept of “screen worlds” rather than “world cinema” to acknowledge and reckon with the impact of new technologies on cinema and everyday life, and the contributors adopt a decolonial feminist approach that insists on localized, intersectional analyses that take race, gender, and class into account in their critique of historical and contemporary abuses of power. Many chapters are set against major world-historical events—such as the Cold War and the Bandung era—and grapple with the relationships among films, filmmaking practices, and social, historical, and cultural experiences. In the chapters, contributors variously explore, for example, filmmaking relationships between countries as diverse as the UAE and India, China and South Africa; K-pop fandom among audiences in Madagascar and North-east India, and Bollywood fandom in southern Nigeria; the use of parallel filmmaking genres and themes in Lagos and Mumbai, Tokyo and Lahore; and comparative analysis of the films of well-known African and Asian filmmakers such as Yasujiro Ozu and Alain Gomis, Satyajit Ray and Souleymane Cissé, and Wong Kar-wai and Mahamat Saleh Haroun.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by The European Research Council.