Richard Dyer – författare

Now twenty years since its initial release, Richard Dyer’s classic text White remains a groundbreaking and insightful study of the representation of whiteness in Western visual culture.White explores how, while racial representation is central to the organisation of the contemporary world, white people have remained a largely unexamined category in sharp contrast to the many studies of images of black and Asian peoples. Looking beyond the apparent unremarkability of whiteness, Dyer demonstrates the importance of analysing images of white people. Dyer places this representation within the contexts of Christianity, ‘race’ and colonialism. In a series of absorbing case studies, he shows the construction of whiteness in the technology of photography and film as part of a wider ‘culture of light’; discusses heroic white masculinity in muscle-man action cinema, from Tarzan and Hercules to Conan and Rambo; analyses the stifling role of white women in end-of-empire fictions like Jewel in the Crown and traces the associations of whiteness with death in Falling Down, horror movies and cult dystopian films such as Blade Runner and the Aliens trilogy. This twentieth anniversary edition includes a new introductory chapter by Maxime Cervulle entitled ‘Looking into the light: Whiteness, racism and regimes of representation’. This new introduction illuminates how Dyer has made a major contribution to the study of contemporary regimes of representation by unveiling the cultural mechanisms that have formed and reinforced white hegemony, mechanisms under which white people have come to represent what is ordinary, neutral, even universal.

Popular European Cinema examines the reasons why films that are most popular with audiences in any one European countha are seldom successful eslewhere. Audiences themselves represent diverse class, gender and ethnic identities that complicate th equestoin of national cinema, not least with recent developments in formerly communist Eastern Europe and post-colonialist Western Europe. THrough their individual studies, the contribuitots ehr oven up a new area of study, using the medium of film to fucus a wider discussion of popular European culture.

Popular European Cinema examines the reasons why films that are most popular with audiences in any one European countha are seldom successful eslewhere. Audiences themselves represent diverse class, gender and ethnic identities that complicate th equestoin of national cinema, not least with recent developments in formerly communist Eastern Europe and post-colonialist Western Europe. THrough their individual studies, the contribuitots ehr oven up a new area of study, using the medium of film to fucus a wider discussion of popular European culture.

Songs take up space and time in films. Richard Dyer's In the Space of a Song takes off from this perception, arguing that the way songs take up space indicates a great deal about the songs themselves, the nature of the feelings they present, and who is allowed to present feelings how, when and where. In the Space of a Song explores this perception through a range of examples, from classic MGM musicals to blaxploitation cinema, with the career of Lena Horne providing a turning point in the cultural dynamics of the feeling.Chapters include:The perfection of Meet Me in St. LouisA Star Is Born and the construction of authenticity‘I seem to find the happiness I seek’: Heterosexuality and dance in the musicalThe space of happiness in the musicalSinging prettily: Lena Horne in HollywoodIs Car Wash a musical?Music and presence in blaxploitation cinemaIn the Space of a Song is ideal for both scholars and students of film studies.

Songs take up space and time in films. Richard Dyer's In the Space of a Song takes off from this perception, arguing that the way songs take up space indicates a great deal about the songs themselves, the nature of the feelings they present, and who is allowed to present feelings how, when and where. In the Space of a Song explores this perception through a range of examples, from classic MGM musicals to blaxploitation cinema, with the career of Lena Horne providing a turning point in the cultural dynamics of the feeling.Chapters include:The perfection of Meet Me in St. LouisA Star Is Born and the construction of authenticity‘I seem to find the happiness I seek’: Heterosexuality and dance in the musicalThe space of happiness in the musicalSinging prettily: Lena Horne in HollywoodIs Car Wash a musical?Music and presence in blaxploitation cinemaIn the Space of a Song is ideal for both scholars and students of film studies.

For around a hundred years up to the Stonewall riots, the word used for gay men was 'queers'. In The Culture of Queers, Richard Dyer traces the contours of queer culture, examining the differences and continuities with the gay culture which succeeded it. Opening with a discussion of the very concept of 'queers', Dyer asks what it means to speak of a sexual grouping having a culture, and addresses issues such as gay attitudes to women and the notion of camp. From screaming queens to sensitive vampires and sad young men, and from pulp novels to pornography to the films of Fassbinder, The Culture of Queers explores the history of queer arts and media.

For around a hundred years up to the Stonewall riots, the word used for gay men was 'queers'. In The Culture of Queers, Richard Dyer traces the contours of queer culture, examining the differences and continuities with the gay culture which succeeded it. Opening with a discussion of the very concept of 'queers', Dyer asks what it means to speak of a sexual grouping having a culture, and addresses issues such as gay attitudes to women and the notion of camp. From screaming queens to sensitive vampires and sad young men, and from pulp novels to pornography to the films of Fassbinder, The Culture of Queers explores the history of queer arts and media.

Now published in a revised second edition, The Matter of Images searches through the resonances of the term ‘representation’, analysing images in terms of why they matter, what they are made of, and the material realities they refer to. Richard Dyer’s analyses consider representations of ‘out’ groups and traditionally dominant groups alike, and encompass the eclectic texts of contemporary culture, from queers to straights, political correctness, representations of Empire and films including Gilda, Papillon and The Night of the Living Dead. Essays new to the second edition discuss Lillian Gish as the ultimate white movie star, the representation of whiteness in the South in Birth of a Nation, and society’s fascination with serial killers.The Matter of Images is distinctive in its commitment to writing politically about contemporary culture, while insisting on the importance of understanding the formal qualities and complexity of the images it investigates.

Now published in a revised second edition, The Matter of Images searches through the resonances of the term ‘representation’, analysing images in terms of why they matter, what they are made of, and the material realities they refer to. Richard Dyer’s analyses consider representations of ‘out’ groups and traditionally dominant groups alike, and encompass the eclectic texts of contemporary culture, from queers to straights, political correctness, representations of Empire and films including Gilda, Papillon and The Night of the Living Dead. Essays new to the second edition discuss Lillian Gish as the ultimate white movie star, the representation of whiteness in the South in Birth of a Nation, and society’s fascination with serial killers.The Matter of Images is distinctive in its commitment to writing politically about contemporary culture, while insisting on the importance of understanding the formal qualities and complexity of the images it investigates.

Only Entertainment explores entertainment as entertainment, asking how and whether an emphasis on the primacy of pleasure sets it apart from other forms of art.Dyer focuses on the genres most associated with entertainment, from musicals to action movies, disco to porn. He examines the nature of entertainment in movies such as The Sound of Music and Speed, and argues that entertainment is part of a 'common sense' which is always historically and culturally constructed.This new edition of Only Entertainment features a revised introduction and five new chapters on topics from serial killer movies to Elizabeth Taylor. In the final chapter Dyer asks whether entertainment as we know it is on the wane.

Only Entertainment explores entertainment as entertainment, asking how and whether an emphasis on the primacy of pleasure sets it apart from other forms of art.Dyer focuses on the genres most associated with entertainment, from musicals to action movies, disco to porn. He examines the nature of entertainment in movies such as The Sound of Music and Speed, and argues that entertainment is part of a 'common sense' which is always historically and culturally constructed.This new edition of Only Entertainment features a revised introduction and five new chapters on topics from serial killer movies to Elizabeth Taylor. In the final chapter Dyer asks whether entertainment as we know it is on the wane.

Revised for this second edition, Now You See It, Richard Dyer’s groundbreaking study of films by and about lesbians and gay men, now includes an outline of developments in queer cinema since 1990.Placing the book within lesbian and gay film history, Dyer examines familiar titles such as Girls in Uniform, Un Chant D’Amour and Word is Out in their lesbian/gay context, as well as bringing to light many other forgotten, but remarkable films. Each film is examined in detail in relation to both film type and tradition, and the sexual subculture in which it was made.Now featuring a brand new introduction by Juliane Pidduck, this will be an excellent aid to cinema and film studies courses.

Now You See It, Richard Dyer's groundbreaking study of films by and about lesbians and gay men, has been revised for a second edition, and features an introduction by Juliane Pidduck outlining developments in lesbian and gay cinema since 1990. Now You See It examines familiar titles such as Girls in Uniform, Un Chant D'Amour, and Word Is Out, in their lesbian/gay context as well as bringing to light many other forgotten but remarkable films. Each film is examined in detail in relation to both film type and tradition and the sexual subculture in which it was made.

Richard Dyer's classic study of movie stars and stardom has been updated, with a new introduction by the author discussing the rise of celebrity culture and developments in the study of stars since publication of the first edition in 1986. Dyer's illuminating study is based around case studies of three major stars: Marilyn Monroe, Paul Robeson and Judy Garland. He draws on a wide range of sources, including the films in which each star appeared, to illustrate how each star's persona was constructed, and goes on to examine each within the context of particular issues in fan culture and stardom.Students of film and cultural studies will find this an invaluable part of there course reading.

Richard Dyer's classic study of movie stars and stardom has been updated, with a new introduction by the author discussing the rise of celebrity culture and developments in the study of stars since publication of the first edition in 1986. Dyer's illuminating study is based around case studies of three major stars: Marilyn Monroe, Paul Robeson and Judy Garland. He draws on a wide range of sources, including the films in which each star appeared, to illustrate how each star's persona was constructed, and goes on to examine each within the context of particular issues in fan culture and stardom.Students of film and cultural studies will find this an invaluable part of there course reading.

Writing with his customary wit and style, Richard Dyer argues that while pastiche can be used to describe works which contain montage or collage, it can also be used to describe works which are a kind of imitation of previous works. Investigating a wide range of cultural texts drawn from films, videos, novels, poetry, rap tracks, music and painting, Richard Dyer explores issues of text, genre, and the use of pastiche as a resource within a work. The final chapter draws together the underlying concern of the book with affect and poetics and discusses the politics of pastiche.

Writing with his customary wit and style, Richard Dyer argues that while pastiche can be used to describe works which contain montage or collage, it can also be used to describe works which are a kind of imitation of previous works. Investigating a wide range of cultural texts drawn from films, videos, novels, poetry, rap tracks, music and painting, Richard Dyer explores issues of text, genre, and the use of pastiche as a resource within a work. The final chapter draws together the underlying concern of the book with affect and poetics and discusses the politics of pastiche.

Through the intensive examination of films, magazines, advertising and critical texts, Dyer analyses the historical, ideological and aesthetic significance of stars, changing the way we understand screen icons. Paying particular attention to icons including Marlon Brando, Bette Davis, Marlene Dietrich, Marilyn Monroe and John Wayne.

Now twenty years since its initial release, Richard Dyer’s classic text White remains a groundbreaking and insightful study of the representation of whiteness in Western visual culture.White explores how, while racial representation is central to the organisation of the contemporary world, white people have remained a largely unexamined category in sharp contrast to the many studies of images of black and Asian peoples. Looking beyond the apparent unremarkability of whiteness, Dyer demonstrates the importance of analysing images of white people. Dyer places this representation within the contexts of Christianity, ‘race’ and colonialism. In a series of absorbing case studies, he shows the construction of whiteness in the technology of photography and film as part of a wider ‘culture of light’; discusses heroic white masculinity in muscle-man action cinema, from Tarzan and Hercules to Conan and Rambo; analyses the stifling role of white women in end-of-empire fictions like Jewel in the Crown and traces the associations of whiteness with death in Falling Down, horror movies and cult dystopian films such as Blade Runner and the Aliens trilogy. This twentieth anniversary edition includes a new introductory chapter by Maxime Cervulle entitled ‘Looking into the light: Whiteness, racism and regimes of representation’. This new introduction illuminates how Dyer has made a major contribution to the study of contemporary regimes of representation by unveiling the cultural mechanisms that have formed and reinforced white hegemony, mechanisms under which white people have come to represent what is ordinary, neutral, even universal.

Anita Ekberg was a major international star now chiefly remembered for her half-hour appearance in La dolce vita. She was a Swedish film star who worked extensively in the USA, Italy and elsewhere in Europe but never in Sweden. She was seen as a curvaceous blonde in the Marilyn Monroe mould whose roles and style were nothing like Monroe's. She was celebrated or looked down on for her fabulous looks but never appreciated for her performance. ???????This collection looks at all these facets of Ekberg's career, examining the nature of her star image and discussing her skills as actress and celebrity. It considers the perception of her body in different national contexts and genres and as she aged, the significance of casting, directors, dress and performance and the role of the press, class, ethnicity and her own agency in the production of this fascinating personality.

Fellini's La dolce vita has been a phenomenon since before it was made, a scandal in the making and on release in 1960 and a reference point ever since. Much of what made it notorious was its incorporation of real people, events and lifestyles, making it a documentation of its time. It uses performance, camera movement, editing and music to produce a striking aesthetic mix of energy and listlessness, of exuberance and despair. Richard Dyer's study considers each of these aspects of the film – phenomenon, document, aesthetic – and argues that they are connected. Beginning with the inspirations and ideas that were subsequently turned into La dolce vita, Dyer then explores the making of the film, the film itself and finally its critical reception, providing engaging new insights into this mesmerising piece of cinema.

David Fincher's Seven (1995) follows two detectives, David Mills (Brad Pitt) and William Somerset (Morgan Freeman), as they investigate a series of gruesome murders. One of the most acclaimed films of the 1990s, it explores themes of moral decay, human darkness, and the blurred lines between good and evil. Richard Dyer's study of the film, unpacks how its cinematography, sound, and plot combine to create a harrowing account of a world beset by an all-encompassing, irremediable wickedness. He explores the film in terms of sin, story, structure, seriality, sound, sight and salvation, analyzing how Seven both epitomizes and modifies the serial killer genre, which is such a feature of recent cinema.This new edition includes a new afterword by the author, re-assessing the film's lasting impact and influence over contemporary filmmaking aesthetics.

Nino Rota is one of the most important composers in the history of cinema. Both popular and prolific, he wrote some of the most cherished and memorable of all film music – for The Godfather Parts I and II, The Leopard, the Zeffirelli Shakespeares, nearly all of Fellini and for more than 140 popular Italian movies. Yet his music does not quite work in the way that we have come to assume music in film works: it does not seek to draw us in and identify, nor to overwhelm and excite us. In itself, in its pretty but reticent melodies, its at once comic and touching rhythms, and in its relation to what's on screen, Rota's music is close and affectionate towards characters and events but still restrained, not detached but ironically attached.In this major new study of Rota's film career, Richard Dyer gives a detailed account of Rota's aesthetic, suggesting it offers a new approach to how we understand both film music and feeling and film more broadly. He also provides a first full account in English of Rota's life and work, linking it to notions of plagiarism and pastiche, genre and convention, irony and narrative. Rota's practice is related to some of the major ways music is used in film, including the motif, musical reference, underscoring and the difference between diegetic and non-diegetic music, revealing how Rota both conforms to and undermines standard conceptions. In addition, Dyer considers the issue of gay cultural production, Rota's favourte genre, comedy, and his productive collaboration with the director Federico Fellini.

Nino Rota is one of the most important composers in the history of cinema. Both popular and prolific, he wrote some of the most cherished and memorable of all film music – for The Godfather Parts I and II, The Leopard, the Zeffirelli Shakespeares, nearly all of Fellini and for more than 140 popular Italian movies. Yet his music does not quite work in the way that we have come to assume music in film works: it does not seek to draw us in and identify, nor to overwhelm and excite us. In itself, in its pretty but reticent melodies, its at once comic and touching rhythms, and in its relation to what's on screen, Rota's music is close and affectionate towards characters and events but still restrained, not detached but ironically attached.In this major new study of Rota's film career, Richard Dyer gives a detailed account of Rota's aesthetic, suggesting it offers a new approach to how we understand both film music and feeling and film more broadly. He also provides a first full account in English of Rota's life and work, linking it to notions of plagiarism and pastiche, genre and convention, irony and narrative. Rota's practice is related to some of the major ways music is used in film, including the motif, musical reference, underscoring and the difference between diegetic and non-diegetic music, revealing how Rota both conforms to and undermines standard conceptions. In addition, Dyer considers the issue of gay cultural production, Rota's favourte genre, comedy, and his productive collaboration with the director Federico Fellini.