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Unwatchable
\"We all have images that we find unwatchable, whether for ethical, political, or sensory-affective reasons. From news coverage of terror attacks to viral videos of police brutality, and from graphic horror films to incendiary artworks that provoke mass boycotts, many of the images in our media culture strike as beyond the pale of consumption. Yet what does it mean to proclaim a media object \"unwatchable\": disturbing, revolting, poor, tedious, or literally inaccessible? Appealing to a broad academic and general readership, Unwatchable offers multidisciplinary approaches to the vast array of troubling images that circulate in our global visual culture, from cinema, television, and video games through museums and classrooms to laptops, smart phones, and social media platforms. This anthology assembles 60 original essays by scholars, theorists, critics, archivists, curators, artists, and filmmakers who offer their own responses to the broadly suggestive question: What do you find unwatchable? The diverse answers include iconoclastic artworks that have been hidden from view, dystopian images from the political sphere, horror movies, TV advertisements, classic films, and recent award-winners\"-- Provided by publisher.
Book
Silent Cinema and the Politics of Space
In this cross-cultural history of narrative cinema and media from the 1910s to the 1930s, leading and emergent scholars explore the transnational crossings and exchanges that occurred in early cinema between the two world wars. Drawing on film archives from around the world, this volume advances the premise that silent cinema freely crossed national borders and linguistic thresholds in ways that became far less possible after the emergence of sound. These essays address important questions about the uneven forces-geographic, economic, political, psychological, textual, and experiential-that underscore a non-linear approach to film history. The \"messiness\" of film history, as demonstrated here, opens a new realm of inquiry into unexpected political, social, and aesthetic crossings of silent cinema.
eBook
Cross-Dressing and Transgender Representation in Swedish Cinema, 1908-2017
Today’s explosion of Swedish films made by and about transgender people is sometimes considered in a vacuum. This article explores the long history of cross-gender performance in Swedish cinema and the relationship of these new films to older traditions. In this article, I will outline the contours of cross-gender performance in Swedish films from the 1908 to today, using some exemplary films to display the variety of styles, genres, and meanings that can be found: the short dance film [Dances Through the Ages] ([Skilda tiders danser], Walfrid Bergström, 1909); the swashbuckler [Lasse-Maja] (Gunnar Olsson, 1941); the romantic comedy [Up With Little Märta] ([Fram för Lilla Märta], Hasse Ekman, 1945); the dramatic art film [The Magician] ([Ansiktet], Ingmar Bergman, 1958); the recent romantic comedy [Cockpit] (Mårten Klingberg, 2012); and the trans art film [Everything Falls Apart] ([Nånting måste gå sönder], Ester Martin Bergsmark, 2016). I will show that the two main shifts in Swedish cinema’s representation of cross-gender performance occurred in the mid-1950s and in the 1990s, due to social changes and changes in the structure of the Swedish film industry. In Swedish cinema, as elsewhere, cross-dressing has never meant any one thing, so we must attend to the specific contexts of its expression in order to understand what it meant.
Journal Article
