ABSTRACT
Keyframes introduces the study of popular cinema of Hollywood and beyond and responds to the transformative effect of cultural studies on film studies.
The contributors rethink contemporary film culture using ideas and concerns from feminism, queer theory, 'race' studies, critiques of nationalism, colonialism and post-colonialism, the cultural economies of fandom, spectator theory, and Marxism. Combining a film studies focus on the film industry, production and technology with a cultural studies analysis of consumption and audiences, Keframes demonstrates the breadth of approaches now available for understanding popular cinema. Subjects addressed include:
* Studying Ripley and the 'Alien' films
* Pedagogy and Political Correctness in Martial Arts cinema
* Judy Garland fandom on the net
* Stardom and serial fantasies: Thomas Harris's 'Hannibal'
* Tom Hanks and the globalization of stars
* Queer Bollywood
* Jackie Chan and the Black connection
* '12 Monkeys', postmodernism and urban space.
TABLE OF CONTENTS
part |2 pages
Part I Woman as inter/national sign
chapter 1|17 pages
“You’ve been in my life so long I can’t remember anything else”
chapter 4|16 pages
Romance and/as tourism
chapter 5|17 pages
Race as spectacle, feminism as alibi
part |2 pages
Part II New constellations: stars
chapter 10|16 pages
“Waas sappening?”: narrative structure and iconography in Born in East L.A
part |2 pages
Part III Moving desires
chapter 11|21 pages
The voice of pornography: tracking the subject through the sonic spaces of gay male moving-image pornography
chapter 12|14 pages
Nostalgia of the new wave: structure in Wong Kar-wai’s Happy Together
chapter 14|21 pages
Devouring creation: cannibalism, sodomy, and the scene of analysis in Suddenly, Last Summer
chapter 15|19 pages
Queer Bollywood, or “I’m the player, you’re the naive one”: patterns of sexual subversion in recent Indian popular cinema
part |2 pages
Part IV Production notes