Matthew Tinkcom – författare

Keyframes introduces the study of popular cinema of Hollywood and beyond and responds to the transformative effect of cultural studies on film studies.The contributors rethink contemporary film culture using ideas and concerns from feminism, queer theory, 'race' studies, critiques of nationalism, colonialism and post-colonialism, the cultural economies of fandom, spectator theory, and Marxism. Combining a film studies focus on the film industry, production and technology with a cultural studies analysis of consumption and audiences, Keframes demonstrates the breadth of approaches now available for understanding popular cinema. Subjects addressed include:* Studying Ripley and the 'Alien' films* Pedagogy and Political Correctness in Martial Arts cinema* Judy Garland fandom on the net* Stardom and serial fantasies: Thomas Harris's 'Hannibal'* Tom Hanks and the globalization of stars* Queer Bollywood* Jackie Chan and the Black connection* '12 Monkeys', postmodernism and urban space.

Keyframes introduces the study of popular cinema of Hollywood and beyond and responds to the transformative effect of cultural studies on film studies.The contributors rethink contemporary film culture using ideas and concerns from feminism, queer theory, 'race' studies, critiques of nationalism, colonialism and post-colonialism, the cultural economies of fandom, spectator theory, and Marxism. Combining a film studies focus on the film industry, production and technology with a cultural studies analysis of consumption and audiences, Keframes demonstrates the breadth of approaches now available for understanding popular cinema. Subjects addressed include:* Studying Ripley and the 'Alien' films* Pedagogy and Political Correctness in Martial Arts cinema* Judy Garland fandom on the net* Stardom and serial fantasies: Thomas Harris's 'Hannibal'* Tom Hanks and the globalization of stars* Queer Bollywood* Jackie Chan and the Black connection* '12 Monkeys', postmodernism and urban space.

What does camp have to do with capitalism? How have queer men created a philosophy of commodity culture? Why is cinema central to camp? With chapters on the films of Vincente Minnelli, Andy Warhol, Kenneth Anger, and John Waters, Working Like a Homosexual responds to these questions by arguing that post–World War II gay male subcultures have fostered their own ways not only of consuming mass culture but of producing it as well. With a special emphasis on the tensions between high and low forms of culture and between good and bad taste, Matthew Tinkcom offers a new vision of queer politics and aesthetics that is critically engaged with Marxist theories of capitalist production. He argues that camp-while embracing the cheap, the scorned, the gaudy, the tasteless, and what Warhol called “the leftovers” of artistic production-is a mode of intellectual production and a critical philosophy of modernity as much as it is an expression of a dissident sex/gender difference. From Minnelli’s musicals and the “everyday glamour” of Warhol’s films to Anger’s experimental films and Waters’s “trash aesthetic,” Tinkcom demonstrates how camp allowed these gay men to design their own relationship to labor and to history in a way that protected them from censure even as they struggled to forge a role for themselves within a system of “value” that failed to recognize them.

Queer Theory and Brokeback Mountain examines queer theory as it has emerged in the past three decades and discusses how Brokeback Mountain can be understood through the terms of this field of scholarship and activism. Organized into two parts, in the first half the author discusses key canonical texts within queer theory, including the work of writers as Judith Butler, Michel Foucault, and Eve Kosofsky Sedgwick. He provides an historical account of the questions these scholars have posed to our understanding of sexualities—both normative and non-normative—in the historical past and in contemporary life, as well as a discussion of the theories of sexuality and gender offered by these scholars as these phenomena shape the experiences of men and women in the genital, bodily, erotic, discursive, and cultural dimensions.The second part examines Ang Lee’s 2005 feature film, Brokeback Mountain, in order to understand the claims and insights of queer theory. Tracing the film’s adaptation by screenwriter Larry McMurtry of Annie Proulx’s 1997 short story of the same title, this portion of the book examines the film’s narrative about two working-class men in the rural mid-20th-century U.S. and the meanings of the sexual and emotional bond between the pair that develops over the course of two decades.

Queer Theory and Brokeback Mountain examines queer theory as it has emerged in the past three decades and discusses how Brokeback Mountain can be understood through the terms of this field of scholarship and activism. Organized into two parts, in the first half the author discusses key canonical texts within queer theory, including the work of writers as Judith Butler, Michel Foucault, and Eve Kosofsky Sedgwick. He provides an historical account of the questions these scholars have posed to our understanding of sexualities—both normative and non-normative—in the historical past and in contemporary life, as well as a discussion of the theories of sexuality and gender offered by these scholars as these phenomena shape the experiences of men and women in the genital, bodily, erotic, discursive, and cultural dimensions.The second part examines Ang Lee’s 2005 feature film, Brokeback Mountain, in order to understand the claims and insights of queer theory. Tracing the film’s adaptation by screenwriter Larry McMurtry of Annie Proulx’s 1997 short story of the same title, this portion of the book examines the film’s narrative about two working-class men in the rural mid-20th-century U.S. and the meanings of the sexual and emotional bond between the pair that develops over the course of two decades.

The Maysles brothers’ documentary film Grey Gardens (1975) chronicles the everyday lives of two eccentric upper-class women, Edith Bouvier Beale and her mother Edith. The film has gained the status of cult classic since its release, inspiring both a Broadway musical and a 2009 feature film. In this first single volume study, Matthew Tinkcom argues that Grey Gardens reshaped documentary cinema by moving the camera to the heart of the household, a private space into which film-makers had seldom previously ventured.By the time the film-makers appeared on their front porch, Grey Gardens’ two central figures, ‘Big Edie’ and her daughter ‘Little Edie’, had been living for two decades in squalor in their beachside East Hampton mansion. However, the women were hardly victims of their poverty; rather they saw themselves as artists who were willing to make any sacrifice for their singing and dancing talents. When the Edies perform for the camera, audiences are challenged by the question of how much anyone would be willing to give up in order to lead a life of eccentric pleasure. Tinkcom argues that Grey Gardens is innovative in blending documentary with the conventions of melodrama, and that the film’s appeal lies in the fabric of the Beales’ everyday lives in which they argue, dress up, flirt, laugh, sing, dance and reminisce about their experiences in New York’s social elite in the first half of the twentieth century.In his afterword to this new edition, Matthew Tinkcom reconsiders Grey Gardens fifty years after its release, addressing its cult status and the Edies’ continuing influence on popular culture.