In the decade of Spielberg and Lucas and "pre-sold" sequels, Hollywood learned to adapt to video, pay-per-view and cable television. Moviegoers no longer had to go to the movies. Volume 10 of this acclaimed series chronicles the biggest transformation since the late 1940s in the way Hollywood did business.
"Hidden Chicano Cinema" examines how New Mexico, situated within the boundaries of the United States, became a stand-in for the exotic non-western world that tourists, artists, scientists, and others sought to possess at the dawn of early filmmaking, a disposition stretching from the silent era to today as filmmakers screen their fantasies of what they wished the Southwest Borderlands to be. The book highlights film moments in this region s history including the filmic turn ushered in by Chicano/a filmmakers who created new ways to represent their community and region. A. Gabriel Melendez narrates the drama, intrigue, and politics of these moments and accounts for the specific cinematic practices and the sociocultural detail that explains how the camera itself brought filmmakers and their subjects to unexpected encounters on and off the screen. Such films as "Adventures in Kit Carson Land, The Rattlesnake, "and "Red Sky at Morning," among others, provide examples of movies that have both educated and misinformed us about a place that remains a distant locale in the mind of most film audiences."
Historically, Indian cinema has positioned women at the intersection of tradition and a more evolving culture, portraying contradictory attitudes which affect women's roles in public and private spheres.
Examining the work of three directors from West Bengal, this book addresses the juxtaposition of tradition and culture regarding women in Bengali cinema. It argues the antithesis of women's roles, particularly in terms of ideas of resistance, revolution, change, and autonomy, by suggesting they convey resistance to hegemonic structures, encouraging a re-envisioning of women's positions within the familial-social matrix. Along with presenting a perception of culture as dynamic and evolving, the book discusses how some directors show that with this rupturing of the traditionally prohibitive, and a notion of unmaking and making in women, a traditional inclination is exposed to align women with ideas of absence, substitution, and disposability. The author goes on to show how selected auteurs in contemporary Bengali cinema break with certain traditional representations of women, gesturing towards a culture that is more liberating for women.
Presenting the first full-length study of women's changing roles over the last twenty years of Bengali cinema, this book will be a useful contribution for students and scholars of South Asian Culture, Film Studies and Gender Studies.
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