Sarah-Mai Dang – författare

This book addresses the relationship between gossip, women, and film with regards to the genre of chick flicks. Presenting two case studies on the films Easy A (Will Gluck 2010) and Emma (Douglas McGrath 1996), Dang demonstrates that hearsay plays a defining role in the staging of these films and thus in the film experience. While the lack of women’s voices in the general public sphere remains an issue, the female voice is very present in the contemporary woman’s film. In its analysis of gossip, this book focuses on a form of communication that has traditionally been assigned to women and is consequently disregarded. Dang provides a theoretical framework for the understanding of speech acts in the popular, yet undertheorized, genre of chick flicks.

This book addresses the relationship between gossip, women, and film with regards to the genre of chick flicks. Presenting two case studies on the films Easy A (Will Gluck 2010) and Emma (Douglas McGrath 1996), Dang demonstrates that hearsay plays a defining role in the staging of these films and thus in the film experience. While the lack of women’s voices in the general public sphere remains an issue, the female voice is very present in the contemporary woman’s film. In its analysis of gossip, this book focuses on a form of communication that has traditionally been assigned to women and is consequently disregarded. Dang provides a theoretical framework for the understanding of speech acts in the popular, yet undertheorized, genre of chick flicks.

How has the digital turn shaped the practices of film historical research and teaching? While computational approaches have been used by film historians since the 1960s and 1970s, the arrival and use of digital tools and methods in recent decades has fundamentally changed the ways we search, analyze, interpret, present, and so think and write about film history – from digital archival and curatorial practices, data-driven search, and analysis of film historical collections to the visualization and dissemination of film historical materials online. While film historians have increasingly embraced the new possibilities brought by digital technologies, their practical, epistemological, and methodological implications need further exploration. What opportunities does the digitization of film historical sources provide for film historians? What new questions can be raised by using digital methods? What new perspectives emerge from analyzing, interpreting, and visualizing film historical data at the levels of both “close” and “distant” – or “scalable” – reading and viewing? By focusing on the concepts, tools, and practices of digital film historiography, this edited volume aims to contribute to a better understanding and critical reflection on the changes and continuities of doing film history in the digital age.