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The Feminist Film Philosophy Reader

The Identity Politics of Postcolonial Feminism provides an original analysis of the conceptual categories of essentialisms (situated and strategic) and the politics of location evoked and practised by five hyphenated South Asian postcolonial feminists in the contemporary Anglo-North-American academy: Himani Bannerji, Inderpal Grewal, Chandra Talpade Mohanty, Sherene H. Razack and Gayatri Chakravorty Spivak.&nbsp;

Strategies of Essentialism

The Identity Politics of Postcolonial Feminism

The Case for Feminist Revolution

The Dialectic of Sex

Patipolitics looks at what it means to enjoy the body under technocapitalism, arguing that we need a new paradigm to talk about sexual enjoyment and suffering. It is not just biological life (biopolitics), nor even political death (necropolitics) that has power, but also regimes of enjoyment. In simple terms the paradoxical, ambivalent and traumatic realm of the sexual: a deadly enjoyment that demands satisfaction yet cannot be sated. This is Patipolitics, from the Latin patior- to suffer, which for psychoanalysis is also to enjoy.

The body is governed by a dizzying array of institutions: the family, social media, religion and the culture industries. These sites provide contexts for enjoying the body such as: self-image, object choice, identification, erogenous zones, taboos, codes of sexual morality, inhibitions, violence, and bodily abjection. But it is the ways in which these modalities are harnessed by apparatuses of power which makes them patipolitical.

Patipolitics examines how the body is instrumentalised, weaponised and fantasized through science, technology and capitalism. After highlighting the destructive and oppressive elements of patipolitics, the book elucidates the positive and generative dimensions to the patipolitical. The female body and its place in the masculine imaginary obscures a genuine enigma about the sexual body and power. Ultimately if patipolitics is to be affirmative as opposed to destructive we must ask what alternative future it can help us to imagine?

Patipolitics

Life as a Member of ADHD’s Lost Generation

Nowhere Girl

Bringing together Michel Foucault's aesthetics of existence and Richard Shusterman's somaesthetics, this volume provides a critical comparison of two of the most influential philosophical theories of the late 20th and early 21st centuries. Introduced by a comprehensive overview of both concepts by editors Stefano Marino and Valentina Antoniol, the ensuing chapters interrogate the affinities and variances between Foucault's and Shusterman's philosophies. Building on the interdisciplinary character of somaesthetics and aesthetics of existence, international scholars explore these ideas through a wide range of topics ranging from care of the self and of the social self to the ethical and political challenges posed by themes as white ignorance, construction of resistances, and production of subjectivities. Given the central role played by the body in both concepts, this volume also affords particular attention to the philosophy of sexuality. Demonstrating the value of reading these two thinkers together through the adoption of radical interpretive perspectives, Foucault's Aesthetics of Existence and Shusterman's Somaesthetics highlights the potentialities and the relevance of Foucault's and Shusterman's theories, even with respect to our actualité.

Ethics, Politics, and the Art of Living

Foucault's Aesthetics of Existence and Shusterman's Somaesthetics

Gilles Deleuze considered 'assemblage' theory to be his most significant contribution to philosophy. It's a complex and nuanced concept and one that is central to how Deleuze and Guattari constructed their theoretical work. In Assemblage Theory and Affect Ian Buchanan continues his project of demystifying this key theory and introducing its primary qualities. Buchanan argues that assemblage theory, as conceived by Deleuze and Guattari, is primarily about desire. And, further to that, there is no greater manifestation of desire than 'affect'. Indeed, in order to understand assemblage you also need to understand affect and vice versa. In this first introduction to how assemblage and affect impact, shape and require each other, Buchanan outlines the meaning of both concepts for contemporary philosophy, art, cultural and critical theory and politics. In applying these theories to real life practices and experiences, the concepts are given clarity and force. An original, lucid and inventive work by one of the foremost Deleuzian thinkers in the world, Assemblage Theory and Affect proposes new avenues for thinking about the contemporary world.

Assemblage Theory and Affect

Global Exploitation Cinemas

Discourses of cult cinema primarily centre around the West, with a particular emphasis upon Anglo-American cinema and fandom. Meanwhile, scholarship on world cinema privileges art cinema traditions and downplays those areas of popular cinema that intersect with cult. Global Cult Cinemas makes a decisive intervention by specifically addressing the transnational dynamics underpinning cult cinema. From studies of film reception that trace the international spread of cult film practices through to accounts of cult filmmaking traditions from a diverse range of film cultures, Global Cult Cinemas works towards the goal of de-Westernizing the discipline.

With contributors and topics from across the globe, Global Cult Cinemas explores this de-Westernization through filmmakers and current events such as Alejandro Jodorowsky in the era of #MeToo, cinephilia in Pakistan, and the reception of the Czech Crazy Comedy. While broadening the study of cult cinema beyond its predominant US focus, this book disrupts the realm of traditional cult cinema scholarship.

Decolonising Cult Film Studies

Global Cult Cinemas

A Year in Motherhood Around the World

Four Mothers

Patipolitics looks at what it means to enjoy the body under technocapitalism arguing that we need a new paradigm to talk about sexual enjoyment and suffering. It is not just biological life (biopolitics), nor even political death (necropolitics) that has power, but also regimes of enjoyment. In simple terms the paradoxical, ambivalent and traumatic realm of the sexual: a deadly enjoyment that demands satisfaction yet cannot be sated. This is Patipolitics, from the Latin patior- to suffer, which for psychoanalysis is also to enjoy.

The body is governed by a dizzying array of institutions: the family, social media, religion and the culture industries. These sites provide contexts for enjoying the body such as: self-image, object choice, identification, erogenous zones, taboos, codes of sexual morality, inhibitions, violence, and bodily abjection. But it is the ways in which these modalities are harnessed by apparatuses of power which makes them patipolitical.

Patipolitics examines how the body is instrumentalised, weaponised and fantasized through science, technology and capitalism. After highlighting the destructive and oppressive elements of patipolitics, the book elucidates the positive and generative dimensions to the patipolitical. The female body and its place in the masculine imaginary obscures a genuine enigma about the sexual body and power. Ultimately if patipolitics is to be affirmative as opposed to destructive we must ask what alternative future it can help us to imagine?

Bloomsbury Studies in Modern German Philosophy

"This collection brings together a series of cutting-edge studies on the most significant controversies and prize essay contests of the German Enlightenment. Chapters address questions such as the condition of possibility of the debates, their institutional support and their aims, and introduce relatively unknown but key figures of the period. Set out into four parts, the essays provide new material on areas such as anthropology, the problem of language, colonialism and the origins of aesthetics for the wider study of 18th-century intellectual and philosophical life"--

Philosophy in the German Enlightenment

Debates, Controversies, and Prizes

This book examines the integral role that makeup plays in the construction and promotion of female stardom, focusing on the transitional Hollywood period, between 1950 and 1970, a time of great change in Hollywood with the advent of television, the break-up of the studios and the break-down of the production code. Cathy Lomax's compelling study features in-depth case studies of stars Vivien Leigh, Marilyn Monroe, Natalie Wood, Dorothy Dandridge and Joan Crawford alongside archival images of make-up promotional material and the make up used by stars and their fans to interrogate the role of makeup in defining and adjusting the appearance of race, beauty, ageing, naturalness, and sexual appeal in the star image. Makeup is a vital technical material in film and photography; correcting skin-tones for different film stocks and making features visible under bright lights. But it is also a component of a film's mise-en-scene, intrinsically linked to the visual allure of cinema and helps to shape and refine the female star image, both on- and off-screen. Lomax's case studies show how makeup was used to create female figures such as the femme fatale played by Marilyn Monroe in Niagara (1953); how in various roles Natalie Wood's makeup was used to suggest a youthful, natural and openly sexual young woman, or, when as a white actress she was cast in 'ethnic' roles, to create an impression of a Hispanic, Native American or Black identity; how Dorothy Dandridge's light skin challenged codes around inter-racial relationships, with the result that her skin was darkened for love scenes with Black actors, and how the transition to colour impacted Joan Crawford's star persona as she aged, and how ideas about the grotesque nature of female ageing were represented in the 1960s cycle of 'hag horror' movies such as 1962's Whatever Happened to Baby Jane? Drawing on film studies, feminist debates on masquerade theory, celebrity studies and fashion and cultural studies, alongside information from biographies, fan magazines, archives, and practical experience from her own work as a makeup artist, Lomax reveals the vital and under-examined role that makeup plays in the display of femininity on film, and how this is exemplified through the construction of individuated stardom. By making visible a material, that because of its connection with feminine adornment has been overlooked or disregarded, this book highlights undervalued labour, and foregrounds the female agency that was articulated by the design and application of makeup.

Makeup, Femininity, Race and Ageing in Hollywood

Making Up the Star

This book examines a range of systems and structures that film and video artists have developed in works spanning the late 1960s to the present, often in response to the changing technologies and medium of cinema. Simon Payne considers the affinities that film and video works share with aspects of painting, sculpture and music. He argues that the evolution of methodical strategies in artists' cinema can be traced back to the first avant-garde films made a century ago between 1921-1924. Tracing the lineage of key figures and international groups that have formed part of the picture since then, he posits that the most thorough formal exploration of cinema can be credited to a generation of artists that began making films in Britain in the late 1960s and early 1970s. He goes on to analyse the work of key filmmakers including Peter Gidal, David Hall, Malcolm Le Grice, Annabel Nicolson, Lis Rhodes and Guy Sherwin. Paying close attention to their recent films and videos as well as those of diverse younger artists working in a similar tradition. Experimental Cinema, Structures and Systems traces a unique and influential lineage that has defined some of the central preoccupations of experimental film and video, which tests our expectations of cinema, television and the moving image.

Structures, Systems and Strategies

Experimental Cinema

The Feminist Film Philosophy Reader

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