This edited assortment unpicks the ways that love will be understood globally as a troublesome and infrequently violent transgression instead of the narrative of 'happy endings' that Classical Hollywood has provided. The participants make the most of various methodologies of historical past, textual research, psychoanalytic versions, and cultural critique and interact with motion pictures which were made up of the margins to the mainstream of cinema to discover concerns surrounding gender id and spectatorship.
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This edited assortment unpicks the ways that love should be understood globally as a challenging and sometimes violent transgression instead of the narrative of 'happy endings' that Classical Hollywood has provided. The members make the most of various methodologies of historical past, textual research, psychoanalytic types, and cultural critique and have interaction with movies which have been made up of the margins to the mainstream of cinema to discover matters surrounding gender id and spectatorship.
Extra resources for Screening the Dark Side of Love: From Euro-Horror to American Cinema
Created by Leigh Whannell and James Wan. USA, 2004–2010. Serbian Film, A (Srpski film). Directed by Srđan Spasojević. Serbia, 2010. Tokyo Gore Police (Tôkyô zankoku keisatsu). Directed by Yoshihiro Nishimura. USA/ Japan, 2008. Virgin of Nuremberg, The (La vergine di Norimberga). Directed by Antonio Margheriti. Italy, 1963. Whip and the Body, The (La frusta e il corpo). Directed by Mario Bava. Italy/France, 1963. Women in Fury (Femmine in fuga). Directed by Michele Massimo Tarantini. Italy/ Brazil, 1985.
2001. ” Strategies. Journal of Theory, Culture & Politics, 14(1): 63–75. Clover, Carol J. 2001. ), Horror: The Film Reader. New York: Routledge. 77–90. Craven, Roberta Jill. 2000. ” Quarterly Revue of Film & Video, 17(3): 187–209. Creed, Barbara. 1998. “The Crash. Screenplay and interviews. ” Reports and Debates. Screen, 39(2): 175–179. ———. 1993. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. London: Routledge. Cronenberg, David. 1996. Crash. Screenplay and interviews. London: Faber and Faber.
In her influential article “Visual Pleasure and Narrative Cinema,” Laura Mulvey articulates, using Rear Window as an example, how traditional cinematic representations of female sexuality fetishize the female body, rendering it static. In Hollywood cinema, the static (female) body retards the narrative. Significantly, without the knowledge of the earlier bedroom scene, the representation of the active male (Vaughan), the passive female (Catherine), and the pleasure-in-looking male (James) fit the oversimplified dynamics between men and women that Mulvey reveals as problematic in mainstream cinema.