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A carregar... Sleaze Artists: Cinema at the Margins of Taste, Style, and Politics (2007)por Jeffrey Sconce
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An ethnography of a hospital's CT (Computed Technography) department that examines how medical imaging alters our ideas about the human body. Não foram encontradas descrições de bibliotecas. |
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Google Books — A carregar... GénerosSistema Decimal de Melvil (DDC)791.43653The arts Recreational and performing arts Public performances Film, Radio, and Television Film Special aspects of films, fim adaptations, film genres Films dealing with humanity Human characteristics and activitiesClassificação da Biblioteca do Congresso dos EUA (LCC)AvaliaçãoMédia:
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As the volume's title declares, these are explorations of the margins (of cinema, of taste, etc.), but all of the contributors (at least the ones I read) express a nuanced understanding of how these "margins" are constructed and of the various interrelated registers of culture (high/low/art/mass/camp/trash/etc.). I appreciated the emphasis on hybridity, especially in the article about Haynes: it's too often that cinema is viewed as points along a (wholly arbitrarily constructed) spectrum, with, say, Russ Meyer at one end, one of my beloved mid-20th-century Europeans at the other, and Hitchcock or Welles squarely in the middle.
(Actually, this is something that I felt pretty strongly when reading Greg Taylor's "Pure Quidditas or Geek Chic? Cultism as Discernment." If cinematic geekdom has two extremes [using the spectrum above as the model:], my interests are located at the Artsy end...and yet I feel an incredible affinity for my fellow geeks at the Sleazy end. We're basically in the same boat: waiting for obscure treasures to show up in theaters or on DVD, endlessly picking apart scenes and fragments and trivia, obsessively educating ourselves and defending our predilections even when those around us--who just watch movies the way Normal People watch movies--think we're unhinged or perverse.)
Anyway, it's a fascinating collection--all over the place in terms of genres and directors and arguments--and there's a lot to ponder. Modleski's piece in particular gets into some reconsidering of traditional feminist film theory (and feminist theory more broadly), which is exciting (and very appropriately ends with the demand for bad girls to unite). Good, interesting stuff.
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