edited by Patrice Petro contributions by Jasmine Nadua Trice, Cristina Venegas, Peter Bloom, Alenda Chang, Maria Corrigan, Naomi DeCelles, Hannah Goodwin, Priya Jaikumar, Masha Salazkina and Ellen C. Scott
Rutgers University Press, 2022 Cloth: 978-1-9788-2995-4 | eISBN: 978-1-9788-2997-8 | Paper: 978-1-9788-2994-7 Library of Congress Classification P96.U53U53 2022 Dewey Decimal Classification 302.2301
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC
ABOUT THIS BOOK
Uncanny Histories in Film and Media brings together a stellar lineup of established and emergent scholars who explore the uncanny twists and turns that are often occluded in larger accounts of film and media. Prompted by fresh archival research and new conceptual approaches, the works included here probe the uncanny as a mode of historical analysis that reveals surprising connections and unsettling continuities. The uncanny stands for what often eludes us, for what remains unfamiliar or mysterious or strange. Whether writing about film movements, individual works, or the legacies of major or forgotten critics and theorists, the contributors remind us that at the heart of the uncanny, and indeed the writing of history, is a troubling of definitions, a challenge to our inherited narratives, and a disturbance of what was once familiar in the uncanny histories of our field.
AUTHOR BIOGRAPHY
PATRICE PETRO is a professor of film and media studies, Dick Wolf Director of the Carsey-Wolf Center, and Presidential Chair in Media Studies at the University of California, Santa Barbara. She is the author, editor, and co-editor of thirteen books, including The Routledge Companion to Cinema and Gender.
REVIEWS
“With consummate mastery, Petro has collected provocative and inspirational contributions to a range of subfields in media studies—colonialism and its aftermath, game studies, race and representation, transnationalism, global markets, and the trajectory of feminism.”
— Mary Ann Doane, author of The Emergence of Cinematic Time: Modernity, Contingency, the Archive
"The exciting array of 'uncanny' histories gathered in this collection trouble familiar narratives in film and media studies. Centering marginalized spaces, figures, and texts, these essays show us how much of media history remains to be written."
— Shelley Stamp, author of Lois Weber in Early Hollywood and Movie Struck Girls: Women and Motion Picture Culture aft
TABLE OF CONTENTS
Acknowledgments
Introduction: Uncanny Histories
Part I: The Disciplinary Uncanny
Chapter 1: Film and Media in the Double Take of History
Chapter 2: Haunted by the Body: Cleanliness in Colonial Manila’s Film Culture
Chapter 3: Reimagining the History of Media Studies through Games, Play, and the Uncanny Valley
Part II: Uncanny Films
Chapter 4: Flickering Lights and Mischievous Stars: The Uncanny Feminism of My Twentieth Century
Chapter 5: The Sublime Body under the Sign of Developmentalism: The Wolf of Wall Street (2013), Malaysian Politics and Global Markets
Chapter 6: Uncanny Histories of Transnational Cinematic Receptions: Eisenstein in Cuba
Part III: Uncanny Figures
Chapter 7: Julio García Espinosa and the Fight for a Critical Culture in Cuba
Chapter 8: The Case for (Re)collecting Lotte Eisner’s Work
Chapter 9: A Widow’s Work: Archives and the Construction of Russian Film History
Chapter 10: Fiendish Devices: The Uncanny History of Almena Davis
Notes on contributors
Index
