Performing Whiteness: Postmodern Re-Constructions in the Cinema (Suny Series in Postmodern Culture)

Choice Outstanding Academic TitleExplores how whiteness is culturally constructed in American films.Performing Whiteness crosses the boundaries of film study to explore images of the white body in relation to recent theoretical perspectives on whiteness. Drawing on such diverse critical methodologies as postcolonial studies, feminist film criticism, anthropology, and phenomenology, Gwendolyn Audrey Foster examines a wide variety of films from early cinema to the present day in order to explore the ways in which American cinema imposes whiteness as a cultural norm, even as it exposes its inherent instability. In discussions that range from The Philadelphia Story to Attack of the 50 Foot Woman, Foster shows that, though American cinema is an all-white construct, there exists the possibility of a healthy resistance to cultural norms of race, gender, sexuality, and class.Table of Contents1. Performing Whiteness 2. Inventing Whiteness 3. White Face, White Space 4. The Bad-White Body 5. Performing the "Good" White 6. Performing the "Bad" White 7. Performing White Otherness

Performing Whiteness: Postmodern Re/Constructions in the Cinema (Suny Postmodern Culture)

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State University of New York Press

Women Filmmakers of the African & Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity

Black women filmmakers not only deserve an audience, Gwendolyn Audrey Foster asserts, but it is also imperative that their voices be heard as they struggle against Hollywood’s constructions of spectatorship, ownership, and the creative and distribution aspects of filmmaking.Foster provides a voice for Black and Asian women in the first detailed examination of the works of six contemporary Black and Asian women filmmakers. She also includes a detailed introduction and a chapter entitled "Other Voices," documenting the work of other Black and Asian filmmakers.Foster analyzes the key films of Zeinabu irene Davis, "one of a growing number of independent Black women filmmakers who are actively constructing [in the words of bell hooks] an oppositional gaze’"; British filmmaker Ngozi Onwurah and Julie Dash, two filmmakers working with time and space; Pratibha Parmar, a Kenyan/Indian-born British Black filmmaker concerned with issues of representation, identity; cultural displacement, lesbianism, and racial identity; Trinh T. Minh-ha, a Vietnamese-born artist who revolutionized documentary filmmaking by displacing the "voyeuristic gaze of the ethnographic documentary filmmaker"; and Mira Nair, a Black Indian woman who concentrates on interracial identity.

Southern Illinois University Press

Identity And Memory: The Films of Chantal Akerman

Considered to be one of the most influential auteurs in French cinema today, Chantal Akerman has had a profound impact on both feminist filmmaking discourse and avant-garde film. She has shown herself to be an uncompromising and dedicated practitioner of the cinematic arts in works such as I...You...He...She (Je tu il elle,1974); Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975); Meetings with Anna (Les Rendez-vous d'Anna,1978); American Stories/Food, Family, and Philosophy (Histoires d'Amérique,1989); and From the East (D'Est,1993). Akerman has continued to create new and unexpected films that explore ideas about image, gaze, space, performance, and narration.            This collection of essays edited by Gwendolyn Audrey Foster assesses Akerman's wide-ranging oeuvre, particularly her exploration of identity and memory, and considers her development as an artist and as a social force. Along with a detailed filmography and bibliography, both compiled by Foster, ten of the key figures in contemporary feminist moving-image discourse explore the themes with which Akerman is preoccupied: sexuality and lesbian identity, subjectivity, alterity, quotidian reality, the mother-daughter relationship, and Jewish diasporic identity. The contributors include Maureen Turim, Sandy Flitterman-Lewis, Jennifer M. Barker, Ivone Margulies, Catherine Fowler, Janet Bergstrom, Ginette Vincendeau, Gwendolyn Audrey Foster, Judith Mayne, and Kristine Butler. Originally published in the United Kingdom by Flicks Books, this marks the first United States edition of Identity and Memory: The Films of Chantal Akerman.

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Books by Foster, Professor Gwendolyn Audrey

See the best price to sell, buy, or rent books by Foster, Professor Gwendolyn Audrey. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Performing Whiteness: Postmodern Re/Constructions in the Cinema (Suny Postmodern Culture)

Women Filmmakers of the African & Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity

Identity And Memory: The Films of Chantal Akerman