Captive Bodies: Postcolonial Subjectivity in Cinema (Suny Series, Cultural Studies in Cinema/Video)

Captive Bodies examines the film industry's fascination with bondage and captivity, seeking to revisualize American cinema through the lens of critical discourse on captivity narratives, slave narratives, and postcolonial critiques of cinematic constructions of "whiteness," "blackness," gender, and sexuality. Captivity is also examined here in relation to both those in front and behind the camera. Are we "subject" to others? Are we "bound" and "captive" in images? Are we "captive" bodies and "captive" audiences, held hostage to the spectacles of voyeuristic pleasure? Are those behind the camera involved in a process not unlike that of the slave system, enslaving the body in the image? To answer these and other questions, Gwendolyn Audrey Foster draws upon a wide range of critical methodologies, including postcolonial studies, feminist film criticism, anthropology, and phenomenology.

Humor & Entertainment

Foster, Gwendolyn Audrey

Movies

State Univ of New York Pr

Examines the film industry's fascination with bondage and captivity. Captive Bodies examines the film industry’s fascination with bondage and captivity, seeking to revisualize American cinema through the lens of critical discourse on captivity narratives, slave narratives, and postcolonial critiques of cinematic constructions of “whiteness,” “blackness,” gender, and sexuality. Captivity is also examined here in relation to both those in front and behind the camera. Are we “subject” to others? Are we “bound” and “captive” in images? Are we “captive” bodies and “captive” audiences, held hostage to the spectacles of voyeuristic pleasure? Are those behind the camera involved in a process not unlike that of the slave system, enslaving the body in the image? To answer these and other questions, Captive Bodies draws upon a wide range of critical methodologies, including postcolonial studies, feminist film criticism, anthropology, and phenomenology.

State University of New York Press

Performing Whiteness: Postmodern Re/Constructions in the Cinema (Suny Postmodern Culture)

Choice Outstanding Academic Title Explores how whiteness is culturally constructed in American films. Performing Whiteness crosses the boundaries of film study to explore images of the white body in relation to recent theoretical perspectives on whiteness. Drawing on such diverse critical methodologies as postcolonial studies, feminist film criticism, anthropology, and phenomenology, Gwendolyn Audrey Foster examines a wide variety of films from early cinema to the present day in order to explore the ways in which American cinema imposes whiteness as a cultural norm, even as it exposes its inherent instability. In discussions that range from The Philadelphia Story to Attack of the 50 Foot Woman, Foster shows that, though American cinema is an all-white construct, there exists the possibility of a healthy resistance to cultural norms of race, gender, sexuality, and class. Table of Contents 1. Performing Whiteness 2. Inventing Whiteness 3. White Face, White Space 4. The Bad-White Body 5. Performing the "Good" White 6. Performing the "Bad" White 7. Performing White Otherness

Performing Whiteness: Postmodern Re-Constructions in the Cinema (Suny Series in Postmodern Culture)

Women Filmmakers of the African & Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity

Black women filmmakers not only deserve an audience, Gwendolyn Audrey Foster asserts, but it is also imperative that their voices be heard as they struggle against Hollywood’s constructions of spectatorship, ownership, and the creative and distribution aspects of filmmaking.
Foster provides a voice for Black and Asian women in the first detailed examination of the works of six contemporary Black and Asian women filmmakers. She also includes a detailed introduction and a chapter entitled "Other Voices," documenting the work of other Black and Asian filmmakers.
Foster analyzes the key films of Zeinabu irene Davis, "one of a growing number of independent Black women filmmakers who are actively constructing [in the words of bell hooks] ‘an oppositional gaze’"; British filmmaker Ngozi Onwurah and Julie Dash, two filmmakers working with time and space; Pratibha Parmar, a Kenyan/Indian-born British Black filmmaker concerned with issues of representation, identity; cultural displacement, lesbianism, and racial identity; Trinh T. Minh-ha, a Vietnamese-born artist who revolutionized documentary filmmaking by displacing the "voyeuristic gaze of the ethnographic documentary filmmaker"; and Mira Nair, a Black Indian woman who concentrates on interracial identity.

Southern Illinois University Press

Troping the Body: Gender, Etiquette, and Performance

Troping the Body: Gender, Etiquette, and Performance is an interdisciplinary study of etiquette texts, conduct literature, and advice books and films. GwendolynAudrey Foster analyzes the work of such women authors as Emily Post, Christine de Pizan, Hannah Webster Foster, Emily Brontë , Frances E. W. Harper, and Martha Stewart as well as such women filmmakers as Lois Weber and Kasi Lemmons. “ Specifically,” Foster notes, “ I was interested in the possibility of locating power and agency in the voices of popular etiquette writers.” Her investigation led her to analyze etiquette and conduct literature from the Middle Ages to the present. Within this wide scope, she redefines the boundaries of conduct literature through a theoretical examination of the gendered body as it is positioned in conduct books, etiquette texts, poetry, fiction, and film. Drawing on Bakhtin, Gates, Foucault, and the new school of performative feminism to develop an interdisciplinary approach to conduct literature— and literature as conduct— Foster brings a unique perspective to the analysis of ways in which the body has been gendered, raced, and constructed in terms of class and sexuality. Even though women writers have been actively writing conduct and etiquette texts since the medieval period, few critical examinations of such literature exist in the fields of cultural studies and literary criticism. Thus, Foster’ s study fills a gap and does so uniquely in the existing literature. In examining these voices of authority over the body, Foster identifies the dialogic in the texts of this discipline that both supports and disrupts the hegemonic discourse of a gendered social order.

Reference

21st-Century Hollywood: Movies in the Era of Transformation

They are shot on high-definition digital cameras—with computer-generated effects added in postproduction—and transmitted to theaters, websites, and video-on-demand networks worldwide. They are viewed on laptop, iPod, and cell phone screens. They are movies in the 21st century—the product of digital technologies that have revolutionized media production, content distribution, and the experience of moviegoing itself.21st-Century Hollywood introduces readers to these global transformations and describes the decisive roles that Hollywood is playing in determining the digital future for world cinema. It offers clear, concise explanations of a major paradigm shift that continues to reshape our relationship to the moving image. Filled with numerous detailed examples, the book will both educate and entertain film students and movie fans alike.

Dixon, Wheeler Winston

History

Rutgers University Press

They are shot on high-definition digital cameras—with computer-generated effects added in postproduction—and transmitted to theaters, websites, and video-on-demand networks worldwide. They are viewed on laptop, iPod, and cell phone screens. They are movies in the 21st century—the product of digital technologies that have revolutionized media production, content distribution, and the experience of moviegoing itself.
21st-Century Hollywood introduces readers to these global transformations and describes the decisive roles that Hollywood is playing in determining the digital future for world cinema. It offers clear, concise explanations of a major paradigm shift that continues to reshape our relationship to the moving image. Filled with numerous detailed examples, the book will both educate and entertain film students and movie fans alike.

Selected as an Outstanding University Press Book for Public and Secondary School Usage, American Association of University Presses. Selected as a Most Significant University Press Title for undergraduates by Choice. A Short History of Film, Second Edition, provides a concise and accurate overview of the history of world cinema, detailing the major movements, directors, studios, and genres from 1896 through 2012. Accompanied by more than 250 rare color and black-and-white stills--including many from recent films--the new edition is unmatched in its panoramic view, conveying a sense of cinema's sweep in the twentieth and early twenty-first centuries as it is practiced in the United States and around the world. Wheeler Winston Dixon and Gwendolyn Audrey Foster present new and amended coverage of the industry in addition to updating the birth and death dates and final works of notable directors. Their expanded focus on key films brings the book firmly into the digital era and chronicles the death of film as a production medium. The book takes readers through the invention of the kinetoscope, the introduction of sound and color between the two world wars, and ultimately the computer-generated imagery of the present day. It details significant periods in world cinema, including the early major industries in Europe, the dominance of the Hollywood studio system in the 1930s and 1940s, and the French New Wave of the 1960s. Attention is given to small independent efforts in developing nations and the more personal independent film movement that briefly flourished in the United States, the significant filmmakers of all nations, and the effects of censorship and regulation on production everywhere. In addition, the authors incorporate the stories of women and other minority filmmakers who have often been overlooked in other texts. "This book provides an overview of the last hundred plus years of international film history. For a compact volume, 384 pages of text, it provides surprisingly comprehensive coverage. A good and affordable reference guide for students of film."--Saul J. Amdursky (PLA)

A Short History of Film

A Short History of Film, Third Edition

With more than 250 images, new information on international cinema—especially Polish, Chinese, Russian, Canadian, and Iranian filmmakers—an expanded section on African-American filmmakers, updated discussions of new works by major American directors, and a new section on the rise of comic book movies and computer generated special effects, this is the most up to date resource for film history courses in the twenty-first century.

See the best price to sell, buy, or rent books by Foster, Gwendolyn Audrey. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Foster, Gwendolyn Audrey

See the best price to sell, buy, or rent books by Foster, Gwendolyn Audrey. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Captive Bodies: Postcolonial Subjectivity in Cinema (Suny Series, Cultural Studies in Cinema/Video)

Captive Bodies: Postcolonial Subjectivity in Cinema (Suny Series, Cultural Studies in Cinema/Video)

Performing Whiteness: Postmodern Re-Constructions in the Cinema (Suny Series in Postmodern Culture)

Women Filmmakers of the African & Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity

Troping the Body: Gender, Etiquette, and Performance

21st-Century Hollywood: Movies in the Era of Transformation

21st-Century Hollywood: Movies in the Era of Transformation

A Short History of Film

A Short History of Film, Third Edition

A Short History of Film, Third Edition