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  1. The proximity of other skins
    ethical intimacy in global cinema
    Autor*in: Shimizu, Celine Parreñas
    Erschienen: [2020]
    Verlag:  Oxford University Press, New York, NY

    Standort:
    Humboldt-Universität zu Berlin, Universitätsbibliothek, Jacob-und-Wilhelm-Grimm-Zentrum
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Unter den Linden
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
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    Quelle: Staatsbibliothek zu Berlin
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    ISBN: 9780190865856; 0190865857; 9780190865863; 0190865865
    RVK Klassifikation: AP 46700
    Schlagworte: Ethnische Beziehungen <Motiv>; Ungleichheit <Motiv>; Geschlechterverhältnis <Motiv>; Film; Intimsphäre <Motiv>; Transnationalisierung <Motiv>
    Weitere Schlagworte: Motion pictures and transnationalism; Motion pictures and globalization; Motion pictures / 21st century / History and criticism; Motion pictures; Motion pictures and globalization; Motion pictures and transnationalism; 2000-2099; Criticism, interpretation, etc
    Umfang: xii, 247 Seiten, Illustrationen, 25 cm
    Bemerkung(en):

    Introduction: Subject/ Abject Relations in Those Long Haired Nights (2017) and Call Her Ganda (2018) -- (Rich) White Women, (Poor) Brown Men, and Sexual Settings: Political and Libidinal Economies in Heading South (2005) and Never Forever (2007) -- The Compassion of Shared Spectatorship: Annihilation and Affliction in Brillante Mendoza's Tirador (2007), Serbis (2007) and Ma' Rosa (2016) -- Intimate Eruptions and the Embodied Montage: Performing Roles and Breaking Rules between Masters and Servants in The Housemaid (2011) and Handmaiden (2016) -- The Ethics of Representing Oneself and Others: Ramona Diaz's Imelda (2005) and David Byrne's Here Lies Love (2010-17) -- Epilogue: Memory and Death (2013-Present)
  2. The proximity of other skins
    ethical intimacy in global cinema
    Autor*in: Shimizu, Celine Parreñas
    Erschienen: [2020]
    Verlag:  Oxford University Press, New York, NY

    Standort:
    Universitätsbibliothek Bayreuth
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Hochschule für Fernsehen und Film, Bibliothek
    Fernleihe:
    keine Ausleihe von Bänden, nur Papierkopien werden versandt

    Standort:
    Universitätsbibliothek Regensburg
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Export in Literaturverwaltung   RIS-Format
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    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    ISBN: 9780190865856; 0190865857; 9780190865863; 0190865865
    RVK Klassifikation: AP 46700
    Schlagworte: Ethnische Beziehungen <Motiv>; Ungleichheit <Motiv>; Geschlechterverhältnis <Motiv>; Film; Intimsphäre <Motiv>; Transnationalisierung <Motiv>
    Weitere Schlagworte: Motion pictures and transnationalism; Motion pictures and globalization; Motion pictures / 21st century / History and criticism; Motion pictures; Motion pictures and globalization; Motion pictures and transnationalism; 2000-2099; Criticism, interpretation, etc
    Umfang: xii, 247 Seiten, Illustrationen, 25 cm
    Bemerkung(en):

    Introduction: Subject/ Abject Relations in Those Long Haired Nights (2017) and Call Her Ganda (2018) -- (Rich) White Women, (Poor) Brown Men, and Sexual Settings: Political and Libidinal Economies in Heading South (2005) and Never Forever (2007) -- The Compassion of Shared Spectatorship: Annihilation and Affliction in Brillante Mendoza's Tirador (2007), Serbis (2007) and Ma' Rosa (2016) -- Intimate Eruptions and the Embodied Montage: Performing Roles and Breaking Rules between Masters and Servants in The Housemaid (2011) and Handmaiden (2016) -- The Ethics of Representing Oneself and Others: Ramona Diaz's Imelda (2005) and David Byrne's Here Lies Love (2010-17) -- Epilogue: Memory and Death (2013-Present)
  3. The proximity of other skins
    ethical intimacy in global cinema
    Autor*in: Shimizu, Celine Parreñas
    Erschienen: 2020
    Verlag:  Oxford University Press, New York

    Introduction: Subject/ Abject Relations in Those Long Haired Nights (2017) and Call Her Ganda (2018) -- (Rich) White Women, (Poor) Brown Men, and Sexual Settings: Political and Libidinal Economies in Heading South (2005) and Never Forever (2007) --... mehr

    Standort:
    Deutsche Kinemathek - Museum für Film und Fernsehen, Bibliothek
    Signatur:
    4.9.6.PAR 3
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Potsdamer Straße
    Signatur:
    10 A 91710
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    Introduction: Subject/ Abject Relations in Those Long Haired Nights (2017) and Call Her Ganda (2018) -- (Rich) White Women, (Poor) Brown Men, and Sexual Settings: Political and Libidinal Economies in Heading South (2005) and Never Forever (2007) -- The Compassion of Shared Spectatorship: Annihilation and Affliction in Brillante Mendoza's Tirador (2007), Serbis (2007) and Ma' Rosa (2016) -- Intimate Eruptions and the Embodied Montage: Performing Roles and Breaking Rules between Masters and Servants in The Housemaid (2011) and Handmaiden (2016) -- The Ethics of Representing Oneself and Others: Ramona Diaz's Imelda (2005) and David Byrne's Here Lies Love (2010-17) -- Epilogue: Memory and Death (2013-Present). "Transnational films representing intimacy and inequality disrupt and disgust Western spectators. When wounded bodies within poverty entangle with healthy wealthy bodies in sex, romance and care, fear and hatred combine with desire and fetishism. Works from the Philippines, South Korea, and independents from the U.S. and France may not be made for the West and may not make use of Hollywood traditions. Rather, they demand recognition for the knowledge they produce beyond our existing frames. They challenge us to go beyond passive consumption, or introspection of ourselves as spectators, for they represent new ways of world-making we cannot unsee, unhear or unfeel. The spectator is redirected to go beyond the rapture of consuming the other to the rupture that arises from witnessing pain and suffering. Self-displacement is what proximity to intimate inequality in cinema ultimately compels and demands so as to establish an ethical way of relating to others. In undoing the spectator, the voice of the transnational filmmaker emerges. Not only do we need to listen to filmmakers from outside Hollywood who unflinchingly engage the inexpressibility of difference, we need to make room for critics and theorists who prioritize the subjectivities of others. When the demographics of filmmakers and film scholars are not as diverse as its spectators, films narrow our world views. To recognize our culpability in the denigration of others unleashes the power of cinema. The unbearability of stories we don't want to watch and don't want to feel must be born. Film, Sex, Race, Transnationalism, Ethics"--

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Staatsbibliothek zu Berlin
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 9780190865863; 9780190865856
    Schlagworte: Motion pictures and transnationalism; Motion pictures and globalization; Motion pictures
    Umfang: xii, 247 Seiten, Illustrationen