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.
List of figures viii List of contributors x Acknowledgments xiv Preface xv Introduction 1(30) PART I Woman as inter/national sign 31(84) Introduction 33(2) ``Youve been in my life so long I cant remember anything else: into the labyrinth with Ripley and the Alien 35(17) Pamela Church Gibson Warrior marks: global womanisms neo-colonial discourse in a multicultural context 52(20) Inderpal Grewal Caren Kaplan ``Daddy, wheres the FBI warning?: constructing the video spectator 72(10) Ina Rae Hark Romance and/as tourism: heritage whiteness and the (inter)national imaginary in the new womans film 82(16) Diane Negra Race as spectacle, feminism as alibi: representing the civil rights era in the 1990s 98(17) Sharon Willis PART II New constellations: stars 115(88) Introduction 117(2) Judy on the net: Judy Garland fandom and ``the gay thing revisited 119(18) Steven Cohan Jackie Chan and the black connection 137(22) Gina Marchetti Stardom and serial fantasies: Thomas Harriss Hannibal 159(12) Linda Mizejewski Learning from Bruce Lee: pedagogy and political correctness in martial arts cinema 171(16) Meaghan Morris ``Waas sappening?: narrative structure and iconography in Born in East L.A. 187(16) Chon A. Noriega PART III Moving desires 203(96) Introduction 205(2) The voice of pornography: tracking the subject through the sonic spaces of gay male moving-image pornography 207(21) Rich Cante Angelo Restivo Nostalgia of the new wave: structure in Wong Kar-wais Happy Together 228(14) Rey Chow Mario Lanza and the ``fourth world 242(17) Marcia Landy Devouring creation: cannibalism, sodomy, and the scene of analysis in Suddenly, Last Summer 259(21) Kevin Ohi Queer Bollywood, or ``Im the player, youre the naive one: patterns of sexual subversion in recent Indian popular cinema 280(19) Thomas Waugh PART IV Production notes 299(96) Introduction 301(2) Cinema studies doesnt matter; or, I know what you did last semester 303(9) Toby Miller 12 Monkeys, postmodernism, and the urban: toward a new method 312(21) Matthew Ruben Terminator technology: Hollywood, history, and technology 333(10) Paul Smith ``Compulsory viewing for every citizen: Mr. Smith and the rhetoric of reception 343(16) Eric Smoodin Standardizing professionalism and showmanship: the performance of motion picture projectionists during the early sync-sound era 359(18) Steve Wurtzler States of emergency 377(18) Patricia R. Zimmermann Index 395
Matthew Tinkcom is an Assistant Professor in the Department of English at Georgetown University. Amy Villarejo is an Assistant Professor in the Department of Theatre, Film and Dance at Cornell University.
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