Laura Stamm – författare

Develop explosive acceleration, speed, and agility and dominate the ice! Laura Stamm's Power Skating presents the skating system used by thousands of the sport's top players and teams to move with maximum efficiency on the ice. From starts and stops to turns and transitions, Laura Stamm's Power Skating covers all of the critical components of explosive skating. Through top-level instruction, practice drills, and coaching tips, you'll learn these skills: Increase on-ice acceleration. Improve balance while changing directions on the ice. Increase speed and agility to disrupt aggressive defensemen. Explode from a stationary position and stop more rapidly. Increase puck protection without sacrificing speed. Use speed and agility to create more scoring chances for yourself and teammates.The great hockey players skate powerfully and are able to get in position to make the key plays. Laura Stamm's Power Skating will give you that explosive edge on the competition.

The Queer Biopic in the AIDS Era offers a new account of the AIDS crisis and the emergence of New Queer Cinema. Author Laura Stamm asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. Queer filmmakers' engagement with the biopic evokes the genre's history of building life through the portrayal of lives worthy of admiration and emulation but it also points to another biopic history; that of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open the potential for new means of connection and relationality. The Queer Biopic in the Aids Era features fresh readings of the cinema of Derek Jarman, John Greyson, Todd Haynes, Barbara Hammer, and Tom Kalin. By calling for a reappraisal of the queer biopic, this book also calls for a reappraisal of New Queer-Cinema's legacy and its influence of contemporary queer film.As a whole, this book pays particular attention to the biopic's queer resonances, opening up its historical connections to projects of education, public health, and social hygiene, along with the production of a shared history and national identity.

The Queer Biopic in the AIDS Era offers a new account of the AIDS crisis and the emergence of New Queer Cinema. Author Laura Stamm asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. Queer filmmakers' engagement with the biopic evokes the genre's history of building life through the portrayal of lives worthy of admiration and emulation but it also points to another biopic history; that of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open the potential for new means of connection and relationality. The Queer Biopic in the Aids Era features fresh readings of the cinema of Derek Jarman, John Greyson, Todd Haynes, Barbara Hammer, and Tom Kalin. By calling for a reappraisal of the queer biopic, this book also calls for a reappraisal of New Queer-Cinema's legacy and its influence of contemporary queer film.As a whole, this book pays particular attention to the biopic's queer resonances, opening up its historical connections to projects of education, public health, and social hygiene, along with the production of a shared history and national identity.

The Queer Biopic in the AIDS Era offers a new account of the AIDS crisis and the emergence of New Queer Cinema. Author Laura Stamm asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. Queer filmmakers'' engagement with the biopic evokes the genre''s history of building life through the portrayal of lives worthy of admiration and emulation but it also points to another biopic history; that of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open the potential for new means of connection and relationality. The Queer Biopic in the Aids Era features fresh readings of the cinema of Derek Jarman, John Greyson, Todd Haynes, Barbara Hammer, and Tom Kalin. By calling for a reappraisal of the queer biopic, this book also calls for a reappraisal of New Queer-Cinema''s legacy and its influence of contemporary queer film.As a whole, this book pays particular attention to the biopic''s queer resonances, opening up its historical connections to projects of education, public health, and social hygiene, along with the production of a shared history and national identity.