Stella Bruzzi – författare

Beyond the Rhetoric of Pain presents a fresh, interdisciplinary approach to the current research on pain from a variety of scholarly angles within Literature, Film and Media, Game Studies, Art History, Hispanic Studies, Memory Studies, Anthropology, Sociology, Philosophy, and Law. Through the combination of these perspectives, this volume goes beyond the existing structures within and across these disciplines framing new concepts of pain in attitude, practice, language, and ethics of response to pain.

Comprised of fourteen unique essays, Beyond the Rhetoric of Pain maintains a common thread of analysis using a historical and cultural lens to explore the rhetoric of pain. Considering various methodologies, this volume questions the ethical, social and political demands pain makes upon those who feel, watch or speak it. Arranged to move from historical cases and relevance of pain in history towards the contemporary movement, topics include pain as a social figure, rhetorical tool, artistic metaphor, and political representation in jurisprudence.

Beyond the Rhetoric of Pain presents a fresh, interdisciplinary approach to the current research on pain from a variety of scholarly angles within Literature, Film and Media, Game Studies, Art History, Hispanic Studies, Memory Studies, Anthropology, Sociology, Philosophy, and Law. Through the combination of these perspectives, this volume goes beyond the existing structures within and across these disciplines framing new concepts of pain in attitude, practice, language, and ethics of response to pain.

Comprised of fourteen unique essays, Beyond the Rhetoric of Pain maintains a common thread of analysis using a historical and cultural lens to explore the rhetoric of pain. Considering various methodologies, this volume questions the ethical, social and political demands pain makes upon those who feel, watch or speak it. Arranged to move from historical cases and relevance of pain in history towards the contemporary movement, topics include pain as a social figure, rhetorical tool, artistic metaphor, and political representation in jurisprudence.

Praise for New Documentary:

''It''s refreshing to find a book that cuts through the tired old debates that have surrounded documentary film and television. It heralds a welcome new approach.''

Sight and Sound

''Documentary practice changes so fast that books on the subject are often out of date before they are published. Bruzzi''s achievement is to have understood the genre as an activity based on performance rather than observation. This is a fresh perspective which illuminates the fundamental shifts that will continue to take place in the genre as it enters its second century.''

John Ellis, Professor of Media Arts, Royal Holloway, University of LondonNew Documentary provides a contemporary look at documentary and fresh and challenging ways of theorising the non-fiction film. As engaging as the original, this second edition features thorough updates to the existing chapters, as well as a brand new chapter on contemporary cinema release documentaries.

This new edition includes:

Additional interviews with influential practitioners, such as director Michael Apted and producer Stephen Lambert

Bruzzi shows how theories of documentary filmmaking can be applied to contemporary texts and genres, and discusses the relationship between recent, innovative examples of the genre and the more established canon of documentary.

Praise for New Documentary:

''It''s refreshing to find a book that cuts through the tired old debates that have surrounded documentary film and television. It heralds a welcome new approach.''

Sight and Sound

''Documentary practice changes so fast that books on the subject are often out of date before they are published. Bruzzi''s achievement is to have understood the genre as an activity based on performance rather than observation. This is a fresh perspective which illuminates the fundamental shifts that will continue to take place in the genre as it enters its second century.''

John Ellis, Professor of Media Arts, Royal Holloway, University of LondonNew Documentary provides a contemporary look at documentary and fresh and challenging ways of theorising the non-fiction film. As engaging as the original, this second edition features thorough updates to the existing chapters, as well as a brand new chapter on contemporary cinema release documentaries.

This new edition includes:

Additional interviews with influential practitioners, such as director Michael Apted and producer Stephen Lambert

Bruzzi shows how theories of documentary filmmaking can be applied to contemporary texts and genres, and discusses the relationship between recent, innovative examples of the genre and the more established canon of documentary.

From Audrey Hepburn in Givenchy, to sharp-suited gangsters in Tarantino movies, clothing is central to film. In Undressing Cinema, Stella Bruzzi explores how far from being mere accessories, clothes are key elements in the construction of cinematic identities, and she proposes new and dynamic links between cinema, fashion and costume history, gender, queer theory and psychoanalysis.Bruzzi uses case studies drawn from contemporary popular cinema to reassess established ideas about costume and fashion in cinema, and to challenge conventional interpretations of how masculinity and femininity are constructed through clothing. Her wide-ranging study encompasses: * haute couture in film and the rise of the movie fashion designer, from Givenchy to Gaultier * the eroticism of period costume in films such as The Piano and The Age of Innocence * clothing the modern femme fatale in Single White Female, Disclosure and The Last Seduction * generic male chic in Goodfellas, Reservoir Dogs, and Leon * pride, costume and masculinity in `Blaxploitation'' films, Boyz `N The Hood and New Jack City * drag and gender confusion in cinema, from the unerotic cross-dressing of Mrs Doubtfire to the eroticised ambiguity of Orlando.

From Audrey Hepburn in Givenchy, to sharp-suited gangsters in Tarantino movies, clothing is central to film. In Undressing Cinema, Stella Bruzzi explores how far from being mere accessories, clothes are key elements in the construction of cinematic identities, and she proposes new and dynamic links between cinema, fashion and costume history, gender, queer theory and psychoanalysis.Bruzzi uses case studies drawn from contemporary popular cinema to reassess established ideas about costume and fashion in cinema, and to challenge conventional interpretations of how masculinity and femininity are constructed through clothing. Her wide-ranging study encompasses: * haute couture in film and the rise of the movie fashion designer, from Givenchy to Gaultier * the eroticism of period costume in films such as The Piano and The Age of Innocence * clothing the modern femme fatale in Single White Female, Disclosure and The Last Seduction * generic male chic in Goodfellas, Reservoir Dogs, and Leon * pride, costume and masculinity in `Blaxploitation'' films, Boyz `N The Hood and New Jack City * drag and gender confusion in cinema, from the unerotic cross-dressing of Mrs Doubtfire to the eroticised ambiguity of Orlando.

In our era of ‘fake news’, Stella Bruzzi examines the dynamism that results from reusing and reconfiguring raw documentary data (documents, archive, news etc.) in creative ways.

Through a series of individual case studies, this book offers an innovative framework for understanding how, in our century, film and media texts frequently represent reality and negotiate the instabilities of ‘truth’ by ‘approximating’ factual events rather than merely representing them, through juxtaposing disparate, often colliding, perspectives of history and factual events. Covering areas such as true crime, politics and media, the book analyses the fluidity and instability of truth, arguing that ''approximation'' is more prevalent now in our digital age, and that its conception is a result of viewers’ accidental or unconscious connections and interventions.

Original and thought-provoking, Approximation provides students and researchers of media, film and cultural studies a deeper insight into our understanding and acceptance of what truth really means today.

In our era of ‘fake news’, Stella Bruzzi examines the dynamism that results from reusing and reconfiguring raw documentary data (documents, archive, news etc.) in creative ways.

Through a series of individual case studies, this book offers an innovative framework for understanding how, in our century, film and media texts frequently represent reality and negotiate the instabilities of ‘truth’ by ‘approximating’ factual events rather than merely representing them, through juxtaposing disparate, often colliding, perspectives of history and factual events. Covering areas such as true crime, politics and media, the book analyses the fluidity and instability of truth, arguing that ''approximation'' is more prevalent now in our digital age, and that its conception is a result of viewers’ accidental or unconscious connections and interventions.

Original and thought-provoking, Approximation provides students and researchers of media, film and cultural studies a deeper insight into our understanding and acceptance of what truth really means today.