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  1. Screening queer memory
    LGBTQ pasts in contemporary film and television
    Published: 2021
    Publisher:  Bloomsbury Academic, London ; New York ; Oxford ; New Delhi ; Sydney

    "In Screening Queer Memory, Anamarija Horvat examines how LGBTQ history has been represented on-screen, and interrogates the specificity of queer memory. She poses several questions: How are the pasts of LGBTQ people and communities visualised and... more

    Hochschule für Fernsehen und Film, Bibliothek
    No loan of volumes, only paper copies will be sent
    Universitätsbibliothek der LMU München
    Unlimited inter-library loan, copies and loan

     

    "In Screening Queer Memory, Anamarija Horvat examines how LGBTQ history has been represented on-screen, and interrogates the specificity of queer memory. She poses several questions: How are the pasts of LGBTQ people and communities visualised and commemorated on screen? How do these representations comment on the influence of film and television on the construction of queer memory? How do they present the passage of memory from one generation of LGBTQ people to another? Finally, which narratives of the queer past, particularly of the activist past, are being commemorated, and which obscured? Horvat exemplifies how contemporary British and American cinema and television have commented on the specificity of queer memory - how they have reflected aspects of its construction, as well as participated in its creation. In doing so, she adds to an under-examined area of queer film and television research which has privileged concepts of nostalgia, history, temporality and the archive over memory. Films and television shows explored include Cheryl Dunye's The Watermelon Woman (1996), Todd Haynes' Velvet Goldmine (1998), Jill Soloway's Transparent (2014), Matthew Warchus' Pride (2014) and Tom Rob Smith's London Spy (2015)"--

     

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  2. Screening queer memory
    LGBTQ pasts in contemporary film and television
    Published: 2021
    Publisher:  Bloomsbury Academic, London ; New York ; Oxford ; New Delhi ; Sydney

    "In Screening Queer Memory, Anamarija Horvat examines how LGBTQ history has been represented on-screen, and interrogates the specificity of queer memory. She poses several questions: How are the pasts of LGBTQ people and communities visualised and... more

    Freie Universität Berlin, Universitätsbibliothek
    Unlimited inter-library loan, copies and loan
    Verbund der Öffentlichen Bibliotheken Berlins - VÖBB
    Unlimited inter-library loan, copies and loan

     

    "In Screening Queer Memory, Anamarija Horvat examines how LGBTQ history has been represented on-screen, and interrogates the specificity of queer memory. She poses several questions: How are the pasts of LGBTQ people and communities visualised and commemorated on screen? How do these representations comment on the influence of film and television on the construction of queer memory? How do they present the passage of memory from one generation of LGBTQ people to another? Finally, which narratives of the queer past, particularly of the activist past, are being commemorated, and which obscured? Horvat exemplifies how contemporary British and American cinema and television have commented on the specificity of queer memory - how they have reflected aspects of its construction, as well as participated in its creation. In doing so, she adds to an under-examined area of queer film and television research which has privileged concepts of nostalgia, history, temporality and the archive over memory. Films and television shows explored include Cheryl Dunye's The Watermelon Woman (1996), Todd Haynes' Velvet Goldmine (1998), Jill Soloway's Transparent (2014), Matthew Warchus' Pride (2014) and Tom Rob Smith's London Spy (2015)"--

     

    Export to reference management software   RIS file
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  3. Screening queer memory
    LGBTQ pasts in contemporary film and television
    Published: 2021
    Publisher:  Bloomsbury Academic, London ; New York ; Oxford ; New Delhi ; Sydney

    "In Screening Queer Memory, Anamarija Horvat examines how LGBTQ history has been represented on-screen, and interrogates the specificity of queer memory. She poses several questions: How are the pasts of LGBTQ people and communities visualised and... more

    Universitätsbibliothek Paderborn
    Unlimited inter-library loan, copies and loan

     

    "In Screening Queer Memory, Anamarija Horvat examines how LGBTQ history has been represented on-screen, and interrogates the specificity of queer memory. She poses several questions: How are the pasts of LGBTQ people and communities visualised and commemorated on screen? How do these representations comment on the influence of film and television on the construction of queer memory? How do they present the passage of memory from one generation of LGBTQ people to another? Finally, which narratives of the queer past, particularly of the activist past, are being commemorated, and which obscured? Horvat exemplifies how contemporary British and American cinema and television have commented on the specificity of queer memory - how they have reflected aspects of its construction, as well as participated in its creation. In doing so, she adds to an under-examined area of queer film and television research which has privileged concepts of nostalgia, history, temporality and the archive over memory. Films and television shows explored include Cheryl Dunye's The Watermelon Woman (1996), Todd Haynes' Velvet Goldmine (1998), Jill Soloway's Transparent (2014), Matthew Warchus' Pride (2014) and Tom Rob Smith's London Spy (2015)"--

     

    Export to reference management software   RIS file
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    Source: Union catalogues
    Language: English
    Media type: Book
    Format: Print
    ISBN: 9781350188402; 9781350187658
    RVK Categories: AP 50300
    Series: Library of gender and popular culture
    Subjects: Homosexuality in motion pictures; Sexual minorities in motion pictures; Homosexuality on television; Sexual minorities on television; Sex role in motion pictures; Sex role on television; Queer theory
    Scope: xi, 186 Seiten, Illustrationen