Rosalind Galt – författare

Art cinema is a canonical term used in critical histories of postwar world cinema to carve out a space of aesthetic and commercial distinction that is neither mainstream nor avant-garde. For over fifty years, "art cinema" has defined how audiences and critics imagine cinema outside Hollywood, and this book uses art cinema's unique position to explore questions central to contemporary film studies. However, surprisingly little scholarly attention has been paid to the concept since the 1970s. The term itself almost began to seem quaint. Despite these conservative connotations, art cinema retains at its core a comparitivist and internationalist impulse central to any understanding of globalized culture. In the last thirty years, art cinema has flourished worldwide. The emergence of Central European, East Asian, and Latin American new waves, as well as northern Europe's Dogme and Iranian realism have contributed a vibrant new body of films that also demonstrates the centrality of art cinema to thinking film as a global phenomenon. This anthology reassesses the field of art cinema in light of recent scholarship on world film culture. The editors, each known for their important work in new approaches to international cinemas, have assembled a stimulating group of essays that cover the major issues in global art cinema, including new theorizations of the film image; revised industrial, legal, and exhibition histories; and the renewed debates about national, postcolonial, and regional cinema cultures. Global Art Cinema thus brings together a diverse group of authors in a timely conversation that reaffirms the category of art cinema as relevant, provocative, and even fundamental to contemporary film studies.

Art cinema is a canonical term used in critical histories of postwar world cinema to carve out a space of aesthetic and commercial distinction that is neither mainstream nor avant-garde. For over fifty years, "art cinema" has defined how audiences and critics imagine cinema outside Hollywood, and this book uses art cinema's unique position to explore questions central to contemporary film studies. However, surprisingly little scholarly attention has been paid to the concept since the 1970s. The term itself almost began to seem quaint. Despite these conservative connotations, art cinema retains at its core a comparitivist and internationalist impulse central to any understanding of globalized culture. In the last thirty years, art cinema has flourished worldwide. The emergence of Central European, East Asian, and Latin American new waves, as well as northern Europe's Dogme and Iranian realism have contributed a vibrant new body of films that also demonstrates the centrality of art cinema to thinking film as a global phenomenon.This anthology reassesses the field of art cinema in light of recent scholarship on world film culture. The editors, each known for their important work in new approaches to international cinemas, have assembled a stimulating group of essays that cover the major issues in global art cinema, including new theorizations of the film image; revised industrial, legal, and exhibition histories; and the renewed debates about national, postcolonial, and regional cinema cultures. Global Art Cinema thus brings together a diverse group of authors in a timely conversation that reaffirms the category of art cinema as relevant, provocative, and even fundamental to contemporary film studies.

New European Cinema offers a compelling response to the changing cultural shapes of Europe, charting political, aesthetic, and historical developments through innovative readings of some of the most popular and influential European films of the 1990s. Made around the time of the revolutions of 1989 but set in post-World War II Europe, these films grapple with the reunification of Germany, the disintegration of the Balkans, and a growing sense of historical loss and disenchantment felt across the continent. They represent a period in which national borders became blurred and the events of the mid-twentieth-century began to be reinterpreted from a multinational European perspective. Featuring in-depth case studies of films from Italy, Germany, eastern Europe, and Scandinavia, Rosalind Galt reassesses the role that nostalgia, melodrama, and spectacle play in staging history.She analyzes Giuseppe Tornatore's Cinema Paradiso, Michael Radford's Il Postino, Gabriele Salvatores's Mediterraneo, Emir Kusturica's Underground, and Lars von Trier's Zentropa, and contrasts them with films of the immediate postwar era, including the neorealist films of Roberto Rossellini and Vittorio De Sica, socialist realist cinema in Yugoslavia, Billy Wilder's A Foreign Affair, and Carol Reed's The Third Man. Going beyond the conventional focus on national cinemas and heritage, Galt's transnational approach provides an account of how post-Berlin Wall European cinema inventively rethought the identities, ideologies, image, and popular memory of the continent. By connecting these films to political and philosophical debates on the future of Europe, as well as to contemporary critical and cultural theories, Galt redraws the map of European cinema.

New European Cinema offers a compelling response to the changing cultural shapes of Europe, charting political, aesthetic, and historical developments through innovative readings of some of the most popular and influential European films of the 1990s. Made around the time of the revolutions of 1989 but set in post-World War II Europe, these films grapple with the reunification of Germany, the disintegration of the Balkans, and a growing sense of historical loss and disenchantment felt across the continent. They represent a period in which national borders became blurred and the events of the mid-twentieth-century began to be reinterpreted from a multinational European perspective. Featuring in-depth case studies of films from Italy, Germany, eastern Europe, and Scandinavia, Rosalind Galt reassesses the role that nostalgia, melodrama, and spectacle play in staging history.She analyzes Giuseppe Tornatore's Cinema Paradiso, Michael Radford's Il Postino, Gabriele Salvatores's Mediterraneo, Emir Kusturica's Underground, and Lars von Trier's Zentropa, and contrasts them with films of the immediate postwar era, including the neorealist films of Roberto Rossellini and Vittorio De Sica, socialist realist cinema in Yugoslavia, Billy Wilder's A Foreign Affair, and Carol Reed's The Third Man. Going beyond the conventional focus on national cinemas and heritage, Galt's transnational approach provides an account of how post-Berlin Wall European cinema inventively rethought the identities, ideologies, image, and popular memory of the continent. By connecting these films to political and philosophical debates on the future of Europe, as well as to contemporary critical and cultural theories, Galt redraws the map of European cinema.

Film culture often rejects visually rich images, treating simplicity, austerity, or even ugliness as the more provocative, political, and truly cinematic choice. Cinema may challenge traditional ideas of art, but its opposition to the decorative represents a long-standing Western aesthetic bias against feminine cosmetics, Oriental effeminacy, and primitive ornament. Inheriting this patriarchal, colonial perspective--which treats decorative style as foreign or sexually perverse--filmmakers, critics, and theorists have often denigrated colorful, picturesque, and richly patterned visions in cinema. Condemning the exclusion of the "pretty" from masculine film culture, Rosalind Galt reevaluates received ideas about the decorative impulse from early film criticism to classical and postclassical film theory. The pretty embodies lush visuality, dense mise-en-scene, painterly framing, and arabesque camera movements-styles increasingly central to world cinema. From European art cinema to the films of Wong Kar-wai and Santosh Sivan, from the experimental films of Derek Jarman to the popular pleasures of Moulin Rouge!, the pretty is a vital element of contemporary cinema, communicating distinct sexual and political identities.Inverting the logic of anti-pretty thought, Galt firmly establishes the decorative image as a queer aesthetic, uniquely able to figure cinema's perverse pleasures and cross-cultural encounters. Creating her own critical tapestry from perspectives in art theory, film theory, and philosophy, Galt reclaims prettiness as a radically transgressive style, shimmering with threads of political agency.

Film culture often rejects visually rich images, treating simplicity, austerity, or even ugliness as the more provocative, political, and truly cinematic choice. Cinema may challenge traditional ideas of art, but its opposition to the decorative represents a long-standing Western aesthetic bias against feminine cosmetics, Oriental effeminacy, and primitive ornament. Inheriting this patriarchal, colonial perspective--which treats decorative style as foreign or sexually perverse--filmmakers, critics, and theorists have often denigrated colorful, picturesque, and richly patterned visions in cinema. Condemning the exclusion of the "pretty" from masculine film culture, Rosalind Galt reevaluates received ideas about the decorative impulse from early film criticism to classical and postclassical film theory. The pretty embodies lush visuality, dense mise-en-scene, painterly framing, and arabesque camera movements-styles increasingly central to world cinema. From European art cinema to the films of Wong Kar-wai and Santosh Sivan, from the experimental films of Derek Jarman to the popular pleasures of Moulin Rouge!, the pretty is a vital element of contemporary cinema, communicating distinct sexual and political identities.Inverting the logic of anti-pretty thought, Galt firmly establishes the decorative image as a queer aesthetic, uniquely able to figure cinema's perverse pleasures and cross-cultural encounters. Creating her own critical tapestry from perspectives in art theory, film theory, and philosophy, Galt reclaims prettiness as a radically transgressive style, shimmering with threads of political agency.

The pontianak, a terrifying female vampire ghost, is a powerful figure in Malay cultures, as loved and feared in Southeast Asia as Dracula is in the West. In animist tradition, she is a woman who has died in childbirth, and her vengeful return upsets gender norms and social hierarchies. The pontianak first appeared on screen in late colonial Singapore in a series of popular films that combine indigenous animism and transnational production with the cultural and political force of the horror genre.In Alluring Monsters, Rosalind Galt explores how and why the pontianak found new life in postcolonial Southeast Asian film and society. She argues that the figure speaks to a series of intersecting anxieties: about femininity and modernity, globalization and indigeneity, racial and national identities, the relationship of Islam to animism, and heritage and environmental destruction. The pontianak offers abundant feminist potential, but her disruptive gender politics also unsettle queer and feminist film theories by putting them in dialogue with Malay epistemologies. Reading the pontianak as a precolonial figure of disturbance within postcolonial cultures, Galt reveals the importance of cinema to histories and theories of decolonization. From the horror films made by Cathay Keris and Shaw Studios in the 1950s and 1960s to contemporary film, television, art, and fiction in Malaysia and Singapore, the pontianak in all her media forms sheds light on how postcolonial identities are both developed and contested. In tracing the entanglements of Malay feminist animisms with postcolonial visual cultures, Alluring Monsters reveals how a “pontianak theory” can reshape understandings of anticolonial aesthetics and world cinema.

The pontianak, a terrifying female vampire ghost, is a powerful figure in Malay cultures, as loved and feared in Southeast Asia as Dracula is in the West. In animist tradition, she is a woman who has died in childbirth, and her vengeful return upsets gender norms and social hierarchies. The pontianak first appeared on screen in late colonial Singapore in a series of popular films that combine indigenous animism and transnational production with the cultural and political force of the horror genre.In Alluring Monsters, Rosalind Galt explores how and why the pontianak found new life in postcolonial Southeast Asian film and society. She argues that the figure speaks to a series of intersecting anxieties: about femininity and modernity, globalization and indigeneity, racial and national identities, the relationship of Islam to animism, and heritage and environmental destruction. The pontianak offers abundant feminist potential, but her disruptive gender politics also unsettle queer and feminist film theories by putting them in dialogue with Malay epistemologies. Reading the pontianak as a precolonial figure of disturbance within postcolonial cultures, Galt reveals the importance of cinema to histories and theories of decolonization. From the horror films made by Cathay Keris and Shaw Studios in the 1950s and 1960s to contemporary film, television, art, and fiction in Malaysia and Singapore, the pontianak in all her media forms sheds light on how postcolonial identities are both developed and contested. In tracing the entanglements of Malay feminist animisms with postcolonial visual cultures, Alluring Monsters reveals how a “pontianak theory” can reshape understandings of anticolonial aesthetics and world cinema.

Proposing a radical vision of cinema's queer globalism, Karl Schoonover and Rosalind Galt explore how queer filmmaking intersects with international sexual cultures, geopolitics, and aesthetics to disrupt dominant modes of world making. Whether in its exploration of queer cinematic temporality, the paradox of the queer popular, or the deviant ecologies of the queer pastoral, Schoonover and Galt reimagine the scope of queer film studies. The authors move beyond the gay art cinema canon to consider a broad range of films from Chinese lesbian drama and Swedish genderqueer documentary to Bangladeshi melodrama and Bolivian activist video. Schoonover and Galt make a case for the centrality of queerness in cinema and trace how queer cinema circulates around the globe–institutionally via film festivals, online consumption, and human rights campaigns, but also affectively in the production of a queer sensorium. In this account, cinema creates a uniquely potent mode of queer worldliness, one that disrupts normative ways of being in the world and forges revised modes of belonging.

Proposing a radical vision of cinema's queer globalism, Karl Schoonover and Rosalind Galt explore how queer filmmaking intersects with international sexual cultures, geopolitics, and aesthetics to disrupt dominant modes of world making. Whether in its exploration of queer cinematic temporality, the paradox of the queer popular, or the deviant ecologies of the queer pastoral, Schoonover and Galt reimagine the scope of queer film studies. The authors move beyond the gay art cinema canon to consider a broad range of films from Chinese lesbian drama and Swedish genderqueer documentary to Bangladeshi melodrama and Bolivian activist video. Schoonover and Galt make a case for the centrality of queerness in cinema and trace how queer cinema circulates around the globe–institutionally via film festivals, online consumption, and human rights campaigns, but also affectively in the production of a queer sensorium. In this account, cinema creates a uniquely potent mode of queer worldliness, one that disrupts normative ways of being in the world and forges revised modes of belonging.