Veronica Pravadelli – författare
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5 produkter
5 produkter
Inbunden, Engelska, 2014
1 450 kr
Skickas inom 5-8 vardagar
Studies of "Classic Hollywood" typically treat Hollywood films released from 1930 to 1960 as a single interpretive mass. Veronica Pravadelli complicates this idea. Focusing on dominant tendencies in box office hits and Oscar-recognized classics, she breaks down the so-called classic period into six distinct phases that follow Hollywood's amazingly diverse offerings from the emancipated females of the "Transition Era" and the traditional men and women of the conservative 1930s that replaced it to the fantastical Fifties movie musicals that arose after anti-classic genres like film noir and women's films. Pravadelli sets her analysis apart by paying particular attention to the gendered desires and identities exemplified in the films. Availing herself of the significant advances in film theory and modernity studies that have taken place since similar surveys first saw publication, she views Hollywood through strategies as varied as close textural analysis, feminism, psychoanalysis, film style and study of cinematic imagery, revealing the inconsistencies and antithetical traits lurking beneath Classic Hollywood's supposed transparency.
Häftad, Engelska, 2014
310 kr
Skickas inom 5-8 vardagar
Studies of "Classic Hollywood" typically treat Hollywood films released from 1930 to 1960 as a single interpretive mass. Veronica Pravadelli complicates this idea. Focusing on dominant tendencies in box office hits and Oscar-recognized classics, she breaks down the so-called classic period into six distinct phases that follow Hollywood's amazingly diverse offerings from the emancipated females of the "Transition Era" and the traditional men and women of the conservative 1930s that replaced it to the fantastical Fifties movie musicals that arose after anti-classic genres like film noir and women's films. Pravadelli sets her analysis apart by paying particular attention to the gendered desires and identities exemplified in the films. Availing herself of the significant advances in film theory and modernity studies that have taken place since similar surveys first saw publication, she views Hollywood through strategies as varied as close textural analysis, feminism, psychoanalysis, film style and study of cinematic imagery, revealing the inconsistencies and antithetical traits lurking beneath Classic Hollywood's supposed transparency.
E-bok
Engelska, 2015390 kr
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Studies of "Classic Hollywood" typically treat Hollywood films released from 1930 to 1960 as a single interpretive mass. Veronica Pravadelli complicates this idea. Focusing on dominant tendencies in box office hits and Oscar-recognized classics, she breaks down the so-called classic period into six distinct phases that follow Hollywood''s amazingly diverse offerings from the emancipated females of the "Transition Era" and the traditional men and women of the conservative 1930s that replaced it to the fantastical Fifties movie musicals that arose after anti-classic genres like film noir and women''s films. Pravadelli sets her analysis apart by paying particular attention to the gendered desires and identities exemplified in the films. Availing herself of the significant advances in film theory and modernity studies that have taken place since similar surveys first saw publication, she views Hollywood through strategies as varied as close textural analysis, feminism, psychoanalysis, film style and study of cinematic imagery, revealing the inconsistencies and antithetical traits lurking beneath Classic Hollywood''s supposed transparency.
Häftad, Engelska, 1999
382 kr
Tillfälligt slut
Häftad, Engelska, 2017
360 kr
Tillfälligt slut
The anthology explores contemporary women’s cinema in relation to issues related to gender and globalization. The anthology gathers scholars from several parts of the world – from Italy, the USA, Turkey, Iran, Greece, New Zealand, Argentina, Germany and Canada. Such a global perspective is mirrored in the book’s content: the essays consider women’s production in the domain of cinema by looking at various films and filmmakers around the globe and by tackling the relation between national, transnational and global contexts in film production. What comes out is a multifaceted picture showing that women filmmakers, and especially non- Western filmmakers, are key social actors able to narrate the complexities of the current geopolitical condition and of its subjects. Table of Contents: Introduction Veronica Pravadelli PART I: WOMEN’S CINEMA AND NATIONAL/TRANSNATIONAL/GLOBAL SCENARIOS 1. Traumatic Dystopian Futurist Scenarios: Documentary Film, Gender, an Witnessing in Jennifer Baichwal’s Manufactured LandscapesE. Ann Kaplan 2. Female Friendship, Globalization and Women’s Filmmakingin the Mediterranean Veronica Pravadelli 3. Gendered Borderlands: Screens as Contact Zones in Contemporary Women’s Cinema in India Neepa Majumdar 4. Global Change as a Scenario in Recent Films by British Women Directors Antonia Lant 5. Crossingthe (Inner) Borders: Aesthetics and Identity Policies in Contemporary European Cinema Ilaria A. De Pascalis PART II: WOMEN’S CINEMA AND NATIONAL CINEMAS6. Everyday Labyrinths: Bodies of Memory in the Films of Verónica Chen Adrián Pérez Melgosa 7. No Country for Women? The Place of Top of the Lake and Perfect Strangersin New Zealand Cinema Hilary Radner 8. Women Filmmakers in Contemporary Greece Eliza Anna Delveroudi 9. Perceptions of Feminismin Iranian Women’s Cinema Somayeh Ghazizadeh PART III: THEORIES AND FORMS OF AUTHORSHIP 10. Colonial Imaginaries: White Women and World Cinema Authorship Patricia White 11. The Sound of Place/The Place of Sound: Lucrecia Martel’s Acoustic ImaginaryKathleen M. Vernon 12. Out of Step with Autobiographical Temporality: The Politics of the Affective in Petra Costa’s ElenaLuz Horne 13. The Topographies of Ethnicity in Kym Ragusa’s Passing, fuori/outside, and The Skin Between Us Sabrina Vellucci 14. Subversive Strategies in Lucrecia Martel’s Cinema Uta Felten 15. Visual Encounters in Lost and Delirious and Blue Is the Warmest Color Maria Anita Stefanelli PART IV: WOMEN’S CINEMA AND NEW FORMS OF PRODUCTION AND DISTRIBUTION16. Her Blog: Women’s Cinema in the Digital Age Rosanna Maule 17. Women Make Movies and the Politics of Contemporary Feminist Film Distribution Kristen M. Fallica 18. NestingInstincts? Women Filmmakers and TV Directors in Turkey Melis Behlil Biographies