Bodies in Suspense presents a powerful new way to think through postdigital cinema and the affective turn in critical theory. According to Alanna Thain, suspense films allow us to experience the relation between two bodies: that of the film and that of the viewer. Through the “time machine” of suspense, film form, gender, genre, and spectatorship are revealed in innovative and different ways. These films not only engage us directly in ethical concerns, but also provide a key for understanding corporeal power in the digital era.
Offering a new framework for understanding cinematic suspense, Bodies in Suspense argues that the “body in time” enables us to experience the temporal dimension of the body directly. This is the first book to link two contemporary frames of analysis: questions of cinematic temporality and contemporary affect theory. Thain conducts close readings of influential suspense films by Alfred Hitchcock, David Lynch, Christian Marclay, Rian Johnson, and Lou Ye, and sets forth a compelling new theory of cinema, reading for the productivity of the “crime of time” that stages the duplicity of cinematic bodies. Through these films that foreground doubled characters and looping, Thain explores Gilles Deleuze’s claim that “the direct time-image is the phantom which has always haunted cinema.”
A vital new addition to film theory, corporeality and affect theory, feminist theory, and the philosophy of time—and one of the first books to explore David Lynch’s Hollywood trilogy—Bodies in Suspense asks us to pay attention, above all, to the ways in which the condition of spectatorship creates a doubling sensation with important philosophical repercussions.
Bringing together graduates of a women's leadership certificate program at Rutgers University's Institute for Women's Leadership, these essays provide a contrasting picture to assumptions about the current death of feminism, the rise of selfishness and individualism, and the disaffected Millennium Generation. Reflecting on a critical juncture in their lives, the years during college and the beginning of careers or graduate studies, the contributors' voices demonstrate the ways that diverse, young, educated women in the United States are embodying and formulating new models of leadership, at the same time as they are finding their own professional paths, ways of being, and places in the world. They reflect on controversial issues such as gay marriage, gender, racial profiling, war, immigration, poverty, urban education, and health care reform in a post-9/11 era.
Leading the Way introduces readers to young women who are being prepared and empowered to assume leadership roles with men in all public arenas, and to accept equal responsibility for making positive social change in the twenty-first century.
We have long lorded over the ocean. But only recently have we become aware of the myriad life-forms beneath its waves. We now know that this delicate ecosystem is our life-support system; it regulates the earth’s temperatures and climate and comprises 99 percent of living space on earth. So when we change the chemistry of the whole ocean system, as we are now, life as we know it is threatened.
In Seasick, veteran science journalist Alanna Mitchell dives beneath the surface of the world’s oceans to give readers a sense of how this watery realm can be managed and preserved, and with it life on earth. Each chapter features a different group of researchers who introduce readers to the importance of ocean currents, the building of coral structures, or the effects of acidification. With Mitchell at the helm, readers submerge 3,000 feet to gather sea sponges that may contribute to cancer care, see firsthand the lava lamp–like dead zone covering 17,000 square kilometers in the Gulf of Mexico, and witness the simultaneous spawning of corals under a full moon in Panama.
The first book to look at the planetary environmental crisis through the lens of the global ocean, Seasick takes the reader on an emotional journey through a hidden realm of the planet and urges conservation and reverence for the fount from which all life on earth sprang.
Unlike many other handicrafts in the Mexican state of Oaxaca, which have long cultural and historical trajectories, Oaxacan woodcarving began in the second half of the twentieth century and has always been done for the commercial market. In The Value of Aesthetics, Alanna Cant explores how one family’s workshop in the village of San Martín Tilcajete has become the most critically and economically successful, surpassing those of neighbors who use similar materials and techniques. The dominance of this family is tied to their ability to produce a new aesthetic that appeals to three key “economies of culture”: the tourist market for souvenirs, the national market for traditional Mexican artesanías, and the international market for indigenous art.
Offering a new analytical model by which anthropologists can approach visual aesthetics and conceptualize the power of artworks as socially active objects, The Value of Aesthetics shows how aesthetic practices produce and redefine social and political relationships. By investigating the links between aesthetics and issues of production, authorship, ownership, and identity, Cant shows aesthetic change to be a process that ultimately repackages everyday life into commodified objects in Oaxaca.
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