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Soft in the Middle Andrews Fm 3Rd.Qxd 7/24/2006 12:20 PM Page Ii Andrews Fm 3Rd.Qxd 7/24/2006 12:20 PM Page Iii
Andrews_fm_3rd.qxd 7/24/2006 12:20 PM Page i Soft in the Middle Andrews_fm_3rd.qxd 7/24/2006 12:20 PM Page ii Andrews_fm_3rd.qxd 7/24/2006 12:20 PM Page iii Soft in the Middle The Contemporary Softcore Feature in Its Contexts DAVID ANDREWS The Ohio State University Press Columbus Andrews_fm_3rd.qxd 7/24/2006 12:20 PM Page iv Copyright © 2006 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Andrews, David, 1970– Soft in the middle: the contemporary softcore feature in its contexts / David Andrews. p. cm. Includes bibliographic references and index. ISBN 0-8142-1022-8 (cloth: alk. paper)—ISBN 0-8142-9106 (cd-rom) 1. Erotic films— United States—History and criticism. I. Title. PN1995.9.S45A53 2006 791.43’65380973—dc22 2006011785 The third section of chapter 2 appeared in a modified form as an independent essay, “The Distinction ‘In’ Soft Focus,” in Hunger 12 (Fall 2004): 71–77. Chapter 5 appeared in a modified form as an independent article, “Class, Gender, and Genre in Zalman King’s ‘Real High Erotica’: The Conflicting Mandates of Female Fantasy,” in Post Script 25.1 (Fall 2005): 49–73. Chapter 6 is reprinted in a modified form from “Sex Is Dangerous, So Satisfy Your Wife: The Softcore Thriller in Its Contexts,” by David Andrews, in Cinema Journal 45.3 (Spring 2006), pp. 59–89. Copyright © 2006 by the University of Texas Press. All rights reserved. Cover design by Dan O’Dair. Text design and typesetting by Jennifer Shoffey Forsythe. -
Frears & Kureishi
programme08-24pageA4.qxd 11/8/09 15:42 Page 1 FREE admission PORTOBELLO FILM FESTIVAL 3–20 Sept 2009 the beat goes on 700 NEW FILMS programme08-24pageA4.qxd 11/8/09 15:42 Page 2 PORTOBELLO FILM FESTIVAL Weekdays 6pm–11pm, Weekends 1pm–11pm 3–20 Sept 2009 Welcome to the 14th Portobello Film Festival Highlights Sat 12 Sept Portobello’s response to the credit crunch is NO ENTRY FEE. FREARS/KUREISHI 10 Simply turn up and enjoy 17 days of non stop cutting edge cinema from the modern masters of the medium – unimpressed with bling, Thu 3 Sept & COMEDY spin and celebrity culture, these guys have gone out and made their GRAND OPENING WESTBOURNE STUDIOS 11 films, often on budgets of next to nothing, for the sheer thrill of it. WESTBOURNE STUDIOS 1 FAMILY FILM SHOW On the opening night we have a film from Joanna Lumley and A.M. QATTAN CENTRE 4 Survival International, highlights from Virgin Media Fri 4 Sept Shorts, and Graffiti Research Laboratories Sun 13 Sept – last seen lighting up Tate Modern at the Urban Art expo. There’s HORROR more street art from Sickboy, Zeus, Inkie, Solo 1, WESTBOURNE STUDIOS 2 SPANISH DAY BA5H and cover artiste Dotmasters in the foyer. HOROWITZ WESTBOURNE STUDIOS 11 On Friday 4, Michael Horovitz remembers the Beat THE TABERNACLE 2 Generation and its enduring influence at The Tabernacle. And on FAMILY FILM SHOW A.M. QATTAN CENTRE 4 Sunday 6, Lee Harris premieres Allen Ginsberg In Heaven and William Burroughs in Denmark. Sat 5 Sept Mon 14 Sept There are family films every weekend at The Tabernacle and INTERNATIONAL the A.M. -
Love and Punishment: a Feminist Theo-Ethical Analysis of Gender Entrapment, Carceral Resistance, and the Incarceration of Women ‘Behind a Man’
Love and Punishment: A Feminist Theo-Ethical Analysis of Gender Entrapment, Carceral Resistance, and the Incarceration of Women ‘Behind a Man’ By Alexandra Elizabeth Chambers Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in Religion January 31, 2021 Nashville, TN Approved: Date: Stacey M. Floyd-Thomas, Ph.D. Ellen Armour, Ph.D. Juan Floyd-Thomas, Ph.D. Lisa Guenther, Ph.D. Copyright © 2021 by Alexandra Elizabeth Chambers All Rights Reserved For survivors in their struggle to be free from prisons in all their forms and for all who dream of a world where women can both be loved and be free ii ACKNOWLEDGEMENTS The completion of this project was made possible by communities of love and care that have helped me to remain open to new possibilities while also urging me to finish the work that is before me. I am exceedingly grateful to each member of my Dissertation Committee who have all informed and encouraged my development as a student and scholar. Dr. Ellen Armour first introduced me to religious studies and feminist theology when I was an undergraduate student. I have been most fortunate to have also been her student throughout my pursuits in graduate education. Dr. Lisa Guenther has shown me through her teaching and commitments what it means to be a scholar-activist and that it is possible to speak of prison abolition in the academy. Dr. Juan Floyd-Thomas was an early supporter of my doctoral studies and one of the first to critically engage and respond to early versions of arguments that came to be included here. -
Constructed Realities in Women's Prisons: from "Beyond Scared
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank CONSTRUCTED REALITIES IN WOMEN’S PRISONS: FROM BEYOND SCARED STRAIGHT TO ORANGE IS THE NEW BLACK by TEIJA STEARNS A THESIS Presented to the Department of Journalism and Communications and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2014 An Abstract of the Thesis of Teija Steams for the degree of Bachelor of Arts in the Department of Journalism and Communications to be taken June 2014 Title: Constructed Realities in Women's Prisons: From Beyond Scared Straight to Orange is the New Black - Approved: r ~a..-;/(_ Kim Sheehan The show Orange is the New Black, released by Netflix in 2013 and set in a women's prison, received rave reviews and skyrocketed in popularity. Critics lauded the show as a realistic representation of prison. This paper examines the mediated reality of women's prisons, compares past and present representations of women's prisons in the mass media, and examines the prison industrial complex and media effects theories. This paper finds that Orange is the New Black represents a fundamental shift in media discourse and audience interest in the stories of incarcerated women. ii Acknowledgements I would like to thank Professor Kim Sheehan for her patient guidance and enthusiasm throughout the thesis process. I would also like to acknowledge the inside students at Oregon State Penitentiary who participated in the Inside-Out program for inspiring me to pursue this topic. -
1 Anne Schwan Postfeminism Meets the Women in Prison Genre
[Forthcoming in Television & New Media, Special Issue on “Screening Women’s Imprisonment: Agency and Exploitation in Orange is the New Black, ed. Sarah Artt and Anne Schwan, 2016] Anne Schwan Postfeminism Meets the Women in Prison Genre: Privilege and Spectatorship in Orange is the New Black This article argues that Netflix’s original series Orange is the New Black (2013-), based on Piper Kerman’s memoir (2010), uses postfeminist strategies to covertly promote prison reform and exercise a subtle critique of (female) mass incarceration while renegotiating the boundaries of the women in prison genre in a neoliberal context of media production.1 Similar to earlier examples of the women in prison genre, OITNB highlights relationships between women, in this instance relationships between a particularly diverse group of women, with a view to interrogating white, middle-class women’s identity through Piper Chapman’s character, who also serves as a foil for the show’s implied viewer, at least initially. OITNB inhabits the tensions associated both with the women in prison genre and postfeminism, tensions manifesting themselves in titillating content and Netflix’s aggressive marketing campaigns, which appropriate women’s prison experiences as a life-style choice rather than focusing on in-depth analyses of the root causes of incarceration. Yet, the series has the potential to mobilize social awareness and activist sensibilities amongst its target audience, in a political and media environment where the individual and social cost of mass incarceration is increasingly recognized as untenable.2 Building on theories of postfeminism and recent work on the women in prison genre in feminist 1 media, film and cultural studies, and by analyzing the show’s self-reflexive strategies and its exploration of Piper’s perspective, I suggest that the series affords useful opportunities for assessing the effectiveness of (post)feminism’s tactics as an ally in the fight against social inequalities, media (mis-)representation and mass imprisonment specifically. -
Citation: Walker, Johnny (2016) Knowing the Unknown Beyond: "Italianate" and "Italian" Horror Cinema in the Twenty-First Century
Citation: Walker, Johnny (2016) Knowing the unknown beyond: "Italianate" and "Italian" horror cinema in the twenty-first century. In: Italian Horror Cinema. Edinburgh University Press, Edinburgh, pp. 62-78. ISBN 9781474419680 Published by: Edinburgh University Press URL: This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/27965/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) Knowing the unknown beyond: ‘Italianate’ and ‘Italian’ horror cinema in the twenty-first century Johnny Walker Since the year 2000, European horror cinema has undergone a major revival. -
UNIVERSITY of CALIFORNIA Los Angeles Working Girls: the History
UNIVERSITY OF CALIFORNIA Los Angeles Working Girls: The History of Women Directors in 1970s Hollywood A dissertation submitted in partial satisfaction of the requirements of the degree Doctor of Philosophy in Film and Television by Maya Montanez Smukler 2014 ABSTRACT OF DISSERTATION Working Girls: The History of Women Directors in 1970s Hollywood by Maya Montanez Smukler Doctor of Philosophy in Film and Television University of California, Los Angeles, 2014 Professor Janet L. Bergstrom, Chair This dissertation examines the relationship between the feminist movement and Hollywood during the 1970s, specifically as it impacted the hiring practices and creative output of women directors working in the film industry. Due to the activism of the feminist movement, in particular the feminist reform efforts of the Women’s Committees of Hollywood’s professional guilds—the Directors Guild, the Screen Actors Guild, and the Writers Guild—the number of women directors in 1970s Hollywood began to increase compared to previous decades. From the mid-1930s till the mid-1960s, only two women filmmakers had careers as directors in Hollywood: Dorothy Arzner and Ida Lupino. This research reveals that between 1966 and 1980 there were at least fifteen women making movies in the commercial film industry: Karen Arthur, Anne Bancroft, Joan Darling, Lee Grant, Barbara Loden, Elaine May, Barbara Peeters, Joan Rivers, ii Stephanie Rothman, Beverly Sebastian, Joan Micklin Silver, Joan Tewkesbury, Jane Wagner, Nancy Walker, and Claudia Weill. However, in spite of this increase, the overall numbers were bleak. Women directed only 0.19 percent of the 7,332 feature films made between 1949 and 1979. -
Transatlantica, 2 | 2015 Exploiting Exploitation Cinema: an Introduction 2
Transatlantica Revue d’études américaines. American Studies Journal 2 | 2015 The Poetics and Politics of Antiquity in the Long Nineteenth-Century / Exploiting Exploitation Cinema Exploiting Exploitation Cinema: an Introduction David Roche Electronic version URL: http://journals.openedition.org/transatlantica/7846 DOI: 10.4000/transatlantica.7846 ISSN: 1765-2766 Publisher AFEA Electronic reference David Roche, “Exploiting Exploitation Cinema: an Introduction”, Transatlantica [Online], 2 | 2015, Online since 14 July 2016, connection on 29 April 2021. URL: http://journals.openedition.org/transatlantica/ 7846 ; DOI: https://doi.org/10.4000/transatlantica.7846 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Exploiting Exploitation Cinema: an Introduction 1 Exploiting Exploitation Cinema: an Introduction David Roche 1 What is exploitation cinema? Exploitation cinema is not a genre; it is an industry with a specific mode of production. Exploitation films are made cheap for easy profit. “Easy” because they are almost always genre films relying on time-tried formulas (horror, thillers, biker movies, surfer movies, women-in-prison films, martial arts, subgenres like gore, rape-revenge, slashers, nazisploitation, etc.). “Easy” because they offer audiences what they can’t get elsewhere: sex, violence and taboo topics. “Easy” because they have long targetted what has since become the largest demographic group of moviegoers: the 15-25 age group (Thompson and Bordwell, 310, 666). The exploitation film is not a genre, and yet it is often described as such.1 This is, no doubt, because these movies do, as a group, share common semantic, syntactic and pragmatic elements that, for Rick Altman, make up the “complex situation” that is a film genre (Altman, 84). -
Constructed Realities in Women's Prisons: from Beyond Scared Straight to Orange Is the New Black - Approved: R ~A..-;/( Kim Sheehan
CONSTRUCTED REALITIES IN WOMEN’S PRISONS: FROM BEYOND SCARED STRAIGHT TO ORANGE IS THE NEW BLACK by TEIJA STEARNS A THESIS Presented to the Department of Journalism and Communications and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2014 An Abstract of the Thesis of Teija Steams for the degree of Bachelor of Arts in the Department of Journalism and Communications to be taken June 2014 Title: Constructed Realities in Women's Prisons: From Beyond Scared Straight to Orange is the New Black - Approved: r ~a..-;/(_ Kim Sheehan The show Orange is the New Black, released by Netflix in 2013 and set in a women's prison, received rave reviews and skyrocketed in popularity. Critics lauded the show as a realistic representation of prison. This paper examines the mediated reality of women's prisons, compares past and present representations of women's prisons in the mass media, and examines the prison industrial complex and media effects theories. This paper finds that Orange is the New Black represents a fundamental shift in media discourse and audience interest in the stories of incarcerated women. ii Acknowledgements I would like to thank Professor Kim Sheehan for her patient guidance and enthusiasm throughout the thesis process. I would also like to acknowledge the inside students at Oregon State Penitentiary who participated in the Inside-Out program for inspiring me to pursue this topic. Special thanks also go to my parents, Michael Stearns and Staci Schipporeit and to my friends Aaron Cole, Souvanny Miller, and Holly Brice for supporting me throughout my college education. -
Women, Class, and Writing About Prison in Nineteenth-Century England Anne Schwan [email protected]
University of New Hampshire University of New Hampshire Scholars' Repository University of New Hampshire Press: Open Access Books 2014 Convict Voices: Women, Class, and Writing about Prison in Nineteenth-Century England Anne Schwan [email protected] Follow this and additional works at: https://scholars.unh.edu/unh_press Part of the Feminist, Gender, and Sexuality Studies Commons, Literature in English, British Isles Commons, Social History Commons, and the Women's History Commons Recommended Citation Schwan, Anne, "Convict Voices: Women, Class, and Writing about Prison in Nineteenth-Century England" (2014). University of New Hampshire Press: Open Access Books. 2. https://scholars.unh.edu/unh_press/2 This Book is brought to you for free and open access by University of New Hampshire Scholars' Repository. It has been accepted for inclusion in University of New Hampshire Press: Open Access Books by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. CONVICT VOICES Becoming Modern New Nineteenth- Century Studies Series Editors Sarah Way Sherman Janet Aikins Yount Department of En glish Department of En glish University of New Hampshire University of New Hampshire Janet Polasky Rohan McWilliam Department of History Anglia Ruskin University University of New Hampshire Cambridge, En gland This book series maps the complexity of historical change and assesses the formation of ideas, movements, and institutions crucial to our own time by publishing books that examine the emergence of modernity in North America and Eu rope. Set primarily but not exclusively in the nineteenth century, the series shifts attention from modernity’s twentieth- century forms to its earlier moments of uncertain and often disputed construction. -
Cine-Excess XI
Cine-Excess XI 9th- 11th November 2017 Guest of Honour: Fear and the Unfamiliar: Sergio Martino (All the Colours of the Dark, Wrong Time, Wrong Place, Torso, The Violent Professionals) Wrong Crowd Keynote Speaker: Professor Mark Jancovich (UEA) 1 Dear Delegates, Colleagues and Friends It is with great pleasure and pride that we welcome you to the 11th Cine-Excess International Film Festival Cine-Excess XI (www.cine-excess.co.uk) is this in London, and featured a three day conference year hosted by Birmingham City University, theme that explored global constructions of cult the Birmingham and Midland Institute and adaptation. Additionally, the event hosted the the Mockingbird Cinema in order to stage an iconic European directors Enzo G. Castellari (The international film conference and festival that Inglorious Bast***s, Keoma) and Sergio Martino considers cult cinema cultures from around the (Torso, The Violent Professionals) as Guests of world. Honour, as well as a special ‘Script to Scream’ panel discussion on new horror talent that was Having now reached its 11th year of operation, supported by Time Out magazine. Xavier Mendik it is worth briefly reflecting on the evolution of the event. Cine-Excess was conceived as 2013 saw us collaborating with the B-Film: a unique industry-into-academia forum that The Birmingham Centre for Film Studies for began in May 2007, with an event featuring the production of Cine-Excess VII: European a three day conference and guest visits by Erotic Excess: Identity Desire and Disgust. We international filmmakers including John Landis were honoured to host visits by Catherine (An American Werewolf in London). -
Convict Voices: Women, Class, and Writing About Prison in Nineteenth-Century England
University of New Hampshire University of New Hampshire Scholars' Repository University of New Hampshire Press: Open Access Books UNH Publications and Documents 2014 Convict Voices: Women, Class, and Writing about Prison in Nineteenth-Century England Anne Schwan [email protected] Follow this and additional works at: https://scholars.unh.edu/unh_press Part of the Feminist, Gender, and Sexuality Studies Commons, Literature in English, British Isles Commons, Social History Commons, and the Women's History Commons Recommended Citation Schwan, Anne, "Convict Voices: Women, Class, and Writing about Prison in Nineteenth-Century England" (2014). University of New Hampshire Press: Open Access Books. 2. https://scholars.unh.edu/unh_press/2 This Book is brought to you for free and open access by the UNH Publications and Documents at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in University of New Hampshire Press: Open Access Books by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. CONVICT VOICES Becoming Modern New Nineteenth- Century Studies Series Editors Sarah Way Sherman Janet Aikins Yount Department of En glish Department of En glish University of New Hampshire University of New Hampshire Janet Polasky Rohan McWilliam Department of History Anglia Ruskin University University of New Hampshire Cambridge, En gland This book series maps the complexity of historical change and assesses the formation of ideas, movements, and institutions crucial to our own time by publishing books that examine the emergence of modernity in North America and Eu rope. Set primarily but not exclusively in the nineteenth century, the series shifts attention from modernity’s twentieth- century forms to its earlier moments of uncertain and often disputed construction.