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New Books in Film
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Marshall Poe에서 제공하는 콘텐츠입니다. 에피소드, 그래픽, 팟캐스트 설명을 포함한 모든 팟캐스트 콘텐츠는 Marshall Poe 또는 해당 팟캐스트 플랫폼 파트너가 직접 업로드하고 제공합니다. 누군가가 귀하의 허락 없이 귀하의 저작물을 사용하고 있다고 생각되는 경우 여기에 설명된 절차를 따르실 수 있습니다 https://ko.player.fm/legal.
Interviews with Scholars of Film about their New Books Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
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753 에피소드
모두 재생(하지 않음)으로 표시
Manage series 2421483
Marshall Poe에서 제공하는 콘텐츠입니다. 에피소드, 그래픽, 팟캐스트 설명을 포함한 모든 팟캐스트 콘텐츠는 Marshall Poe 또는 해당 팟캐스트 플랫폼 파트너가 직접 업로드하고 제공합니다. 누군가가 귀하의 허락 없이 귀하의 저작물을 사용하고 있다고 생각되는 경우 여기에 설명된 절차를 따르실 수 있습니다 https://ko.player.fm/legal.
Interviews with Scholars of Film about their New Books Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
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753 에피소드
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×Ian Fleishman develops the concept of failed passing in his new book Flamboyant Fictions , which reimagines free will in queer lives as an accidental affirmation of identity despite efforts towards adherence to standards and norms. In this, he works with his predecessors in queer theory like Judith Butler, José Muñoz, Leo Barsani, Lee Edelman and others. In our conversation, Ian also gives us a glimpse of his readings of failed passing in widely varying texts such as the works of André Gide and Jean Genet and the films of Luchino Visconti, Rainer Werner Fassbinder, Werner Schroeter, Todd Haynes, François Ozon, and Xavier Dolan, to the music and public persona of Shawn Mendes and Troye Sivan. Ian Fleishman is the inaugural Chair of the Department of Cinema & Media Studies at the University of Pennsylvania and the author of Flamboyant Fictions: The Failed Art of Passing (Northwestern 2024). His previous books are An Aesthetics of Injury: The Narrative Wound from Baudelaire to Tarantino (Northwestern 2018) and Performative Opacity in the Work of Isabelle Hupert (Edinburgh 2023), co-edited with Iggy Cortez. Image: From the cover of Flamboyant Fictions , by Monograph / Matt Avery Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film…
Imagine you’re in a bar, holding forth about the news of the day–maybe it’s 1985 and, like everyone else, you’re talking about Iran-Contra, Oliver North, and the CIA. As you signal to the bartender that you’re ready for another, an unassuming, somewhat chubby guy next to you smiles and says, “You really want to know how all of that went down?” Then he begins a two-hour monologue that gets crazier every twenty minutes. American Made is that monologue, shot with all the speed and adrenaline as its artistic model, Goodfellas. Mike and Dan talk about why the immediacy of first-person narrative works so well here and why it wouldn’t work at all with other people’s stories. So bury that duffel bag of cash and then give it a listen! Those interested in a less cinematic look at Iran-Contra may want to read Firewall by Lawrence E. Walsh or Del Hahn’s Smuggler’s End:The Life and Death of Barry Seal . Follow us on X and Letterboxd –and let us know what you’d like us to watch! Incredible bumper music by John Deley . Also check out Dan’s new Substack site, Pages and Frames , for essays and short pieces about books and films. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film…
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New Books in Film
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1 Parisa Vaziri, "Racial Blackness and Indian Ocean Slavery: Iran's Cinematic Archive" (U Minnesota Press, 2023) 1:27:00
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From the East African and Red Sea coasts to the Persian Gulf ports of Bushihr, Kish, and Hurmuz, sailing and caravan networks supplied Iran and the surrounding regions with African slave labor from antiquity to the nineteenth century. This book reveals how Iranian cinema preserves the legacy of this vast and yet long-overlooked history that has come to be known as Indian Ocean slavery. How does a focus on blackness complicate traditional understandings of history and culture? Parisa Vaziri addresses this question by looking at residues of the Indian Ocean slave trade in Iranian films from the second half of the twentieth century. Revealing the politicized clash between commercial cinema ( fīlmfārsii) and alternative filmmaking (the Iranian New Wave), she pays particular attention to the healing ritual zar which is both an African slave descendent practice and a constitutive element of Iranian culture, as well as to cinematic sīyāh bāzī (Persian black play). Moving beyond other studies on Indian Ocean and trans-Saharan slavery, Vaziri highlights the crystallization of a singular mode of historicity within these cinematic examples—one of “absence” that reflects the relative dearth of archival information on the facts surrounding Indian Ocean slavery. Bringing together cinema studies, Middle East studies, Black studies, and postcolonial theory, Racial Blackness and Indian Ocean Slavery: Iran's Cinematic Archive (U Minnesota Press, 2023) explores African enslavement in the Indian Ocean through the revelatory and little-known history of Iranian cinema. It shows that Iranian film reveals a resistance to facticity representative of the history of African enslavement in the Indian Ocean and preserves the legacy of African slavery’s longue durée in ways that resist its overpowering erasure in the popular and historical imagination. Parisa Vaziri is associate professor of comparative literature and Near Eastern studies at Cornell University. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel . Twitter . Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film…
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New Books in Film
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1 Martin D. Brown et al., "The Bondian Cold War: The Transnational Legacy of a Cultural Icon" (Routledge, 2024) 1:52:52
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James Bond, Ian Fleming’s irrepressible and ubiquitous ‘spy,’ is often understood as a Cold Warrior, but James Bond’s Cold War diverged from the actual global conflict in subtle but significant ways. That tension between the real and fictional provides perspectives into Cold War culture transcending ideological and geopolitical divides. The Bondiverse is complex and multi-textual, including novels, films, video games, and even a comic strip, and has also inspired an array of homages, copies, and competitors. Awareness of its rich possibilities only becomes apparent through a multi-disciplinary lens. The desire to consider current trends in Bondian studies inspired a conference entitled ‘The Bondian Cold War,’ convened at Tallinn University, Estonia in June 2019. Conference participants, drawn from three continents and multiple disciplines – film studies, history, intelligence studies, and literature, as well as intelligence practitioners – offered papers on the literary and cinematic aspects of the ‘spy’, discussed fact versus fiction in the Bond canon, went in search of a global Bond, and pondered gender and sexuality across the Bondiverse. T he Bondian Cold War: The Transnational Legacy of a Cultural Icon (Routledge, 2024) is suitable for students, researchers, and anyone interested in Cold War culture, makes vital contributions to understanding Bond as a global phenomenon, across traditional divisions of East and West, and beyond the end of the Cold War from which he emerged. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film…
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New Books in Film
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1 Seung-hoon Jeong, "Biopolitical Ethics in Global Cinema" (Oxford UP, 2023) 1:24:08
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If world cinema studies have mostly displayed national cinemas and their transnational mutations, Seung-hoon Jeong’s global frame highlights two conflicting ethical facets of globalization: the ‘soft-ethical’ inclusion of differences in multicultural, neoliberal systems and their ‘hard-ethical’ symptoms of fundamentalist exclusion and terror. Reflecting both and suggesting their alternatives, global cinema draws attention to new changes in subjectivity and community that Jeong investigates in terms of biopolitical ‘abjection’ and ethical ‘agency.’ In this frame, Biopolitical Ethics in Global Cinema (Oxford UP, 2023) explores a vast net of post-1990 films circulating in both the mainstream market and the festival circuit. Ultimately, the book renews critical discourses on global issues––including multiculturalism, catastrophe, sovereignty, abjection, violence, network, nihilism, and atopia––through a core cluster of political, ethical, and psychoanalytic philosophies. Seung-hoon Jeong is Assistant Professor of Cinematic Arts at California State University Long Beach. He is the author of Cinematic Interfaces: Film Theory after New Media , co-translator of the Korean edition of Jacques Derrida’s Acts of Literature , and co-editor of The Global Auteur: The Politics of Authorship in 21st Century Cinema and Thomas Elsaesser’s The Mind-Game Film: Distributed Agency, Time Travel, and Productive Pathology . Steve Choe is Associate Professor of Critical Studies in the School of Cinema at San Francisco State University who researches and teaches in film and media theory. He is the author of Afterlives: Allegories of Film and Mortality in Early Weimar Germany (2014), Sovereign Violence: Ethics and South Korean Cinema in the New Millennium (2016) and ReFocus: The Films of William Friedkin (2023). He is the co-editor of Beyond Imperial Aesthetics: Theories of Art and Politics in East Asia (2019) and editor of the Handbook for Violence in Film and Media (2022). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film…
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New Books in Film
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1 Davide Panagia, "Sentimental Empiricism: Politics, Philosophy, and Criticism in Postwar France" (Fordham UP, 2024) 1:05:43
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Political Theorist Davide Panagia (UCLA) has two new books out focusing on the broader themes and ideas of film, aesthetics, and political theory . Sentimental Empiricism: Politics, Philosophy, and Criticism in Postwar France (Fordham University Press) interrogates French history and educational traditions from the Revolution through the postwar period and analyzes the cultural, social, political, and educational parameters that created the space for the French postwar political thinkers. In Sentimental Empiricism , Panagia explores the many directions of critical thought by Jean Wahl, Simone de Beauvoir, Gilbert Simondon, Gilles Deleuze, and Michel Foucault and how these theorists were pushing against, in many ways, the teleological structure as defined by Aristotle two millennia ago. This contrast in thinking is the heart of the book, helping the reader to consider distinctions between the more fixed classical ideas and a contemporary consideration of dispositionality and revisability. The research and broader historical sketch in Sentimental Empiricism leads to the thrust of Intermedialities: Political Theory and Cinematic Experience (Northwestern UP, 2024) . In Intermedialities (Northwestern UP, 2024), Panagia continues to explore this concept of the revisability of our understanding of the world, and turns the specific focus to film. Film itself, as a medium and as a conveyor of ideas, is rarely at the center of discussions of politics and power. And yet this is the exact place where humans (audiences) can see movement, which is what we are always observing around us to contribute to how we essentially make sense of the world. Intermedialities compels the intertwining of political theory and the theory of film, with encounters between contemporary aesthetic theorists like Stanley Cavell, Gilles Deleuze, Miriam Hansen, and Jean-Luc Godard and more traditional modern thinkers like David Hume, Ludwig Wittgenstein, and Gilbert Simondon. Intermedialities should be of particular interest to political theorists and political scientists since it posits the importance of understanding and thinking about the life and world around us and how we are all connected to taking in this life as movement. The medium of film, which provides us with concepts, images, imaginaries, and perceptions, contributes to so much of our memory and imagination, but is often dismissed as not “real” politics. Panagia and the theorists with whom he is thinking help to tease out the very political nature of the projection of moving images. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), Email her comments at lgoren@carrollu.edu or tweet to @gorenlj . Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film…
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New Books in Film
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1 Neil Fox, "Music Films: Documentaries, Concert Films and Other Cinematic Representations of Popular Music" (Bloomsbury, 2024) 59:43
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In Music Films: Documentaries, Concert Films and Other Cinematic Representations of Popular Musi c (Bloomsbury, 2024), Dr. Neil Fox considers a broad range of music documentaries, delving into their cinematic style, political undertones, racial dynamics, and gender representations, in order to assess their role in the cultivation of myth. Combining historical and critical analyses, and drawing on film and music criticism, Fox examines renowned music films such as A Hard Day's Night (1964), Dig! (2004), and Amazing Grace (2006), critically lauded works like Milford Graves Full Mantis (2018) and Mistaken for Strangers (2013), and lesser-studied films including Jazz on a Summer's Day (1959) and Ornette: Made in America (1985). In doing so, he offers a comprehensive overview of the genre, situating these films within their wider cultural contexts and highlighting their formal and thematic innovations. Discussions in the book span topics from concert filmmaking to music production, the music industry, touring, and filmic representations of authenticity and truth. Overall, Music Films traces the evolution of the genre, highlighting its cultural significance and connection to broader societal phenomena. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film…
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New Books in Film
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1 James Fenwick, "Archive Histories: An Archaeology of the Stanley Kubrick Archive" (Liverpool UP, 2024) 36:28
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What can archives tell us about the film industry? In Archive Histories: An Archaeology of the Stanley Kubrick Archive (Liverpool UP, 2024), James Fenwick, a senior lecturer in cultural and creative industries at the University of Manchester examines the range of possibilities offered by The Stanley Kubrick Archive at the University of London. The book draws on the experience of being an archival researcher to situate the archive in relation to time and place, specifically London and the early 2020s. It connects the diversity of material held in the archive, much of it the everyday record of film industry lives, to key issues of work, sustainability, and technological change shaping media production today. A rich, fascinating and personal narrative, the book will be essential reading for film scholars, as well as the wider arts and humanities community. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film…
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New Books in Film
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1 A.I. is Spielberg & Kubrick’s Dark Twisted Fantasy 1:24:22
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It’s the UConn Popcast , and A.I. Artificial Intelligence, Steven Spielberg’s 2001 movie, is a strange and profound text on human-AI relations. Centering on David, an artificial child who is embraced and then abandoned by his adoptive human mother, the movie has the structure of a fairy tale and the sensibility of a horror film. We found the text to have significant things to say about the ethics of creating, and rejecting, artificial life, as well as functioning as something of a meta-commentary on related movies like Blade Runner and 2001: A Space Odyssey. But we were most intrigued by Stanley Kubrick’s influence on the movie, which was a longtime project of his that he abandoned in his final years and handed over to Spielberg . Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film…
All of the nearly three hundred episodes we’ve done so far have been enthusiastic celebrations of artists whose work we admire so greatly that we had to invent a podcast to talk about it. But in this very strange episode, we talk about a film so awful in so many ways that we are baffled by how it came from the same man who directed four unquestionable masterpieces in a row. The Rainmaker (1997) is–and we mean this without irony–a fascinating film that does everything that films like The Conversation and The Godfather Part II avoid. It works on paper: there’s Coppola, of course, but also a bestseller as its source material, Matt Damon, Claire Danes, Mickey Roarke, Danny DeVito, Jon Voight, Danny Glover, and (inexplicably) Roy Scheider. But even Sheriff Brody can’t kill this beast. Rather than offer a litany of complaints, we talk about the concept of a “shadow movie”: the movie that could have been, the one lurking beneath the film we actually see. This is the only episode in which we don’t follow our usual three-part structure, because we didn’t know if we’d be releasing this one. But we think that we can learn more about films from even one as terrible as this. If you’re interested in the source for Coppola’s film, you can find the novel here . Incredible bumper music by John Deley . Please leave us a rating or review, follow us on X and Letterboxd , email us at fifteenminutefilm@gmail.com , and let us know what you’d like us to watch and discuss. Also check out Dan’s Substack site, Pages and Frames , for essays about books and films. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film…
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New Books in Film
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It’s the UConn Popcast , and Ex Machina, Alex Garland’s 2014 sci fi movie, is a provocative examination of what an updated Turing test for a super-capable AI might look like, if the designer of the test was a megalomaniacal tech-mogul / genius. The movie, starring Oscar Isaac, Domhnall Gleeson, and Alicia Vikander, is a rich and often confounding text, which seems to posit a horrifying possibility: what if the real alignment problem is teaching AI the worst of humanity’s manipulative and instrumental traits? Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film…
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New Books in Film
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1 Marina Hassapopoulou, "Interactive Cinema: The Ambiguous Ethics of Media Participation" (U Minnesota Press, 2024) 1:11:11
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Interactive Cinema: The Ambiguous Ethics of Media Participation (University of Minnesota Press, 2024) engages with a multitude of unconventional approaches throughout the history of motion pictures to offer insight into a range of largely ephemeral and site-specific projects that consciously assimilate viewers into their production. Through an exploration of radically inventive approaches to the medium, many of which emerged out of socio-political crises and periods of historical transition, Interactive Cinema works to by considering it in both technological and phenomenological terms. Author Marina Hassapopoulou is Assistant Professor in the Department of Cinema Studies, at New York University’s Tisch School of the Arts. She is also the interim director of NYU’s Moving Image Archiving and Preservation program. She is the founder of open-source and collaborative initiatives including: Interactive Media Archive , ExpressiveAI.net , and Weird Wave Archive . Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film…
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New Books in Film
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1 Oishik Sircar, "Ways of Remembering: Law, Cinema and Collective Memory in the New India" (Cambridge UP, 2024) 1:36:01
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Ways of Remembering: Law, Cinema and Collective Memory in the New India (Cambridge UP, 2024) tells a story about the relationship between secular law and religious violence by studying the memorialisation of the 2002 Gujarat pogrom--postcolonial India's most litigated and mediatized event of anti-Muslim mass violence. By reading judgments and films on the pogrom through a novel interpretive framework, the book argues that the shared narrative of law and cinema engenders ways of remembering the pogrom in which the rationality of secular law offers a resolution to the irrationality of religious violence. In the public's collective memory, the force of this rationality simultaneously condemns and normalises violence against Muslims while exonerating secular law from its role in enabling the pogrom, thus keeping the violent (legal) order against India's Muslim citizens intact. The book contends that in foregrounding law's aesthetic dimensions we see the discursive ways in which secular law organizes violence and presents itself as the panacea for that very violence. About the Author: Oishik Sircar is a Senior Lecturer at the Melbourne Law School. He was previously the Professor of Law at Jindal Global Law School. His work maps the relationship between law, violence and aesthetics with a particular focus on contemporary India. Along with Ways of Remembering: Law, Cinema and Collective Violence in the New India (CUP 2024), he is the author of Violent Modernities: Cultural Lives of Law in the New India (OUP 2021) and the co-director of the award-winning documentary film We Are Foot Soldiers (PSBT 2010). Priyam Sinha recently graduated with a PhD from the National University of Singapore and has been awarded the Alexander Von Humboldt Postdoctoral Fellowship, starting 2025. She has interdisciplinary academic interests that lie at the intersection of film studies, critical new media industry studies, disability studies, affect studies, gender studies, and cultural studies. She can be reached at https://twitter.com/PriyamSinha Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film…
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1 Vincent Haddad, "The Detroit Genre: Race, Dispossession, and Resilience in American Literature and Film, 1967-2023" (Lever Press, 2024) 1:09:57
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Detroit has an essential relationship to genre in American literature and popular culture. The contemporary formations of the suburban sitcom, the post-apocalyptic genre, the sci-fi dystopia, crime fiction, the superhero genre, and contemporary horror would not exist in the way they do today without the aesthetic material and racial history of Detroit. When DC Comics wanted to compete with Marvel and market “socially relevant” comics, especially ones dealing with issues of race, they swapped Gotham and Metropolis for Detroit. What about vampires concerned with de-industrialization, heritage conservation, and impending water wars? Must be Detroit. A story about a half-man, half-robot wrestling with what it means to be human by fighting crime? Improbably, Detroit has two. Author Vincent Haddad’s The Detroit Genre: Race, Dispossession, and Resilience in American Literature and Film, 1967-2023 (Lever Press, 2024) provides the first comprehensive literary and cultural investigation of the representations of Detroit in popular and literary culture. The book first establishes the concept of the “Detroit genre” that emerged in late 1960s and traces the tropes of this white-centric narrative genre in popular culture, touching on key texts including Blue Collar , Robocop , The Crow , It Follows , and Barbarian . The second part shows how Black writers, including Alice Randall, adrienne maree brown, Stephen Mack Jones, and Angela Flournoy, reclaimed and revised the Detroit genre by un-fixing Detroit narratives of dispossession, criminality, and industrial and social failure through formal experimentations on genre itself. Where Detroit has typically been painted in the news as one of three things—the center of the automotive industry; crime-ridden and in ruins; or as a “blank canvas” with limitless potential of entrepreneurship—Vincent Haddad shows that the Detroit genre in literature and film can be far more powerful than news media in narrating Black dispossession as a pragmatic, even liberal consensus. The texts studied here condition forgetfulness about Detroit’s history or expose it to a full reckoning, direct attention toward or away from the city’s agents of injustice, fetishize resilience or model resistance, and foreclose or imagine a future of Black liberation. Appealing to scholars of popular literature, media, race, and American studies, The Detroit Genre is an accessible and engaging study of the city’s influence on a wide array of genres in pop culture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film…
Just as horror films are filled with characters who never seem quite enough afraid, crime films are filled with protagonists who, at the end of the movie, never seem quite enough affected by what they have seen or unleashed. Not here. Fritz Lang’s The Big Heat (1953) follows the attempts of one cop, Steve Bannion (Glenn Ford), to clean up his department and city’s corruption. He does, but at a terrible cost. Join us for an appreciation of a noir that offers a world of moral black and white and a man who refuses to pretend there are shades of grey–until he finds himself with his hands around someone’s neck. Fans of Fritz Lang will enjoy this collection of interviews with the director. Follow us on X and Letterboxd –and let us know what you’d like us to watch! Incredible bumper music is usually by John Deley ; this week, it’s from the Inside Llewyn Davis soundtrack . Also check out Dan’s new Substack site, Pages and Frames , for an essay about this film and more writing about books and films. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film…
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