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Screening Queer Memory: LGBTQ Pasts in Contemporary Film and Television [Minkštas viršelis]

4.00/5 (5 ratings by Goodreads)
(University of Edinburgh, UK)
  • Formatas: Paperback / softback, 200 pages, aukštis x plotis x storis: 232x154x16 mm, weight: 320 g, 20 bw illus
  • Serija: Library of Gender and Popular Culture
  • Išleidimo metai: 17-Nov-2022
  • Leidėjas: Bloomsbury Academic
  • ISBN-10: 1350188409
  • ISBN-13: 9781350188402
Kitos knygos pagal šią temą:
Screening Queer Memory: LGBTQ Pasts in Contemporary Film and TelevisionDidesnis paveikslėlis
  • Formatas: Paperback / softback, 200 pages, aukštis x plotis x storis: 232x154x16 mm, weight: 320 g, 20 bw illus
  • Serija: Library of Gender and Popular Culture
  • Išleidimo metai: 17-Nov-2022
  • Leidėjas: Bloomsbury Academic
  • ISBN-10: 1350188409
  • ISBN-13: 9781350188402
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9781350188402.html
Raktažodžiai:

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 (2014-2019), Matthew Warchus' Pride (2014) and Tom Rob Smith's London Spy (2015).

Recenzijos

Screening Queer Memory is a timely, exuberant research of contemporary cinematic constructions of personal and communal queer memories, histories, legacies and heritages. It provides a genuine, fresh perspective on the intricate interrelations between queer histories and queer cinemas. -- Gilad Padva, Tel Aviv University, Israel Drawing on cutting-edge theories that are expertly woven into perceptive analyses of up-to-the-minute films and television programs from the UK and the US, Anamarija Horvats timely and necessary book Screening Queer Memory demonstrates exactly how LGBTQ+ pasts can be memorialized, celebrated, passed down to future generations, and productively critiqued in the early twenty-first century. -- Anthony Guy Patricia, Concord University, USA

Daugiau informacijos

The first book-length examination of queer memory in contemporary British and American television and film.
List of figures
viii
Series editor's foreword ix
Acknowledgements x
Introduction: Locating queer memory 1(16)
Part One Queer memories of the screen
17(44)
1 The picture of Arthur Stuart: Todd Haynes's Velvet Goldmine and queer fan memory
25(16)
2 Going on Faith: Cheryl Dunye's The Watermelon Woman and the invention of Black lesbian memory
41(20)
Part Two Queer memory, intergenerationality and television
61(42)
3 Haunting and queer histories: Representing postmemory in Joey Soloway's Transparent
67(15)
4 New spies, old tricks: Intergenerational narratives and memories of the AIDS crisis in London Spy
82(21)
Part Three Remembering queer activism
103(33)
5 Reimagining LGSM: Gendered activism and neoliberalism in Matthew Warchus's Pride
109(27)
Conclusion: The borders of memory: Transnational trends in LGBTQ representation 136(4)
Notes 140(23)
Bibliography 163(17)
Film and television references 180(3)
Index 183
Anamarija Horvat is a researcher in film and television studies, queer theory, and gender studies. She has published on subjects including LGBTQ memory, intersectionality, and queer migration in contemporary television, with her work appearing in journals such as Feminist Media Studies and Critical Studies in Television, as well as in The International Encyclopaedia of Gender, Media and Communication and The Oxford Encyclopaedia of Queer Studies and Communication. She has recently completed her postdoctoral fellowship at the University of Edinburghs Institute for Advanced Studies in the Humanities, is co-founder of the Queer Screens Network, and co-chair of the NECS (European Network for Cinema and Media Studies) Queer and Feminist Workgroup.