Shooting the Family: Transnational Media and Intercultural Values
Patricia Pisters, Wim Staat
Amsterdam University Press, 2005 - Performing Arts - 224 pages
Shooting the Family, a collection of essays on the contemporary media landscape, explores ever-changing representations of family life on a global scale. The contributors argue that new recording technologies allows families an unusual kind of freedom—until now unknown—to define and respond to their own lives and memories. Recently released videos made by young émigrés as they discover new homelands and resolve conflicts with their parents, for example, reverberate alongside the dark portrayals of family life in the formal filmmaking of Ang Lee. This book will be a boon to scholars of film theory and media studies, as well as to anyone interested in the construction of the family in a postmodern world.
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Accented Cinema American Family analysis Ang Lee Antonio Negri archive Armenian Atom Egoyan Baantjer biopower Black Orpheus Boujad camera Capturing the Friedmans Chamblasse characters CHICAM Chinese family concept contemporary David Diaspora discourse Djamel’s documentary Dutch edited Egoyan Empire ethnic Eurydice family ideology family members family portrait family relations family values Family Viewing family’s Farid father filmmakers Fizzy François Ozon Friedmans gender genre global Hardt and Negri home mode home movies home video Ibid intercultural Keizer Lee’s London memory Michael Hardt migrant Minoo mise-en-scène mother multicultural Naficy negotiation non-white normative nuclear family offamily ofthe family one’s Ozon’s Parvez police series political present private space public space queer relationship representation role Routledge scene sense sexual shooting the family shot sitcom sitcom family social Son the Fanatic Spangen Stan television tion traditional translation University Press Van’s viewer visual Webcams York
Page 167 - By labour-power or capacity for labour is to be understood the aggregate of those mental and physical capabilities existing in a human being, which he exercises whenever he produces a use-value of any description.
Page 12 - ... for him. The basis of the State is conquest, the history of States is the history of violence, a bloodstained story of aggression. The state is Ixion's wheel and calls for meaningless self-immolation. Why should hundreds suffer hunger and cold to satisfy the whim of a crowned madman, or the dreams bred by the fancy of a philosophe? This may be directed specifically at Frederick the Great and his French advisers, but the import of it is universal. All rule of men over fellow men is unnatural....
Page 74 - ... an agency of social process whose mode of functioning is both interactive and yet resistant, both participatory and yet distinct, claiming at once equality and difference, demanding political representation while insisting on its material and historical specificity.
Page 184 - The political is thus revealed. not in what we call political activity. but in the double movement whereby the mode of institution of society appears and is obscured.
Page 170 - Any human movement, whether it springs from an intellectual or even a natural impulse, is impeded in its unfolding by the boundless resistance of the outside world.
Page 197 - Michael Hardt and Antonio Negri, Empire (Cambridge, MA: Harvard University Press, 2000), p.
Page 74 - Sedgwick's definition of queer as "the open mesh of possibilities, gaps, overlaps, dissonances and resonances, lapses and excesses of meaning [that can't be made] to signify monolithically" (8) and Alexander Doty's description of queerness as "a quality related to any expression that can be marked as contra-, non-, or anti-straight" (xv), we can understand America in Treut's films as a queer utopia.
Page 32 - Digital icons undermine the authority of the video image and distance the artist from the actual process of image creation: whereas analog video's aesthetic has been valued as immediate, literal, and naturalistic, digitized video is more often construed as contrived, synthetic, and analytic.
Page 113 - In the realm of culture, outsideness is a most powerful factor in understanding. It is only in the eyes of another culture that foreign culture reveals itself fully and profoundly (but not maximally fully, because there will be cultures that see and understand even more).