Books on the topic 'Projection de genre'
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1
Dowd, Garin, and Natalia Rulyova. Genre Trajectories: Identifying, Mapping, Projecting. Palgrave Macmillan Limited, 2015.
2
Dowd, Garin, and Natalia Rulyova. Genre Trajectories: Identifying, Mapping, Projecting. Palgrave Macmillan, 2014.
3
Dowd, Garin, and Natalia Rulyova. Genre Trajectories: Identifying, Mapping, Projecting. Palgrave Macmillan, 2015.
4
Whitesell, Lloyd. Style Modes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.003.0001.
Abstract:
This chapter introduces a new index for the analysis of individual musical numbers, specifically in the genre of film musicals: “style mode,” which refers to background orientations of stylistic treatment in both sonic and visual design. It defines the genre’s primary style modes—ordinary, children’s, burlesque, razzle-dazzle, and glamour—by way of well-known examples and illustrates their effectiveness as analytical categories, providing insight into large-scale planning as well as the meanings projected within individual numbers. Because the projection of a style mode takes place independently of the musical “language” being spoken (e.g., jazz, blues, musical theater, rock), style modes are clearly distinguished from musical topics and idioms.
5
Whitesell, Lloyd. Tricks of the Light. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.003.0008.
Abstract:
This chapter turns to the other side of the coin—the failure of magical belief. Glamour conjures up a transfigured counter-reality and acts as a bridge to that imagined existence. But the entire symbolic edifice is built on fancy and prone to collapse, with reality reasserting itself and dragging us back from our projection into the dreamworld. Many film musicals warn against glamour as mystification or deceit. Four types of examples are discussed, each skeptical in a different way (joking, haunted, wishful, manipulative). Concluding discussion shows how the musical genre has affinities with the hybrid aesthetic of “magical realism.” The incorporation of a realistic dimension into the discourse of musical fantasy preserves an external vantage point for critical reflection—a demystifying impulse in tension with glamour’s mystique.
6
Duffett, Mark, and Jon Hackett. Scary Monsters. Bloomsbury Publishing Inc, 2021. http://dx.doi.org/10.5040/9781501313400.
Abstract:
Popular music and masculinity have rarely been examined through the lens of research into monstrosity. The discourses associated with rock and pop, however, actually include more ‘monsters’ than might at first be imagined. Attention to such individuals and cultures can say things about the operation of genre and gender, myth and meaning. Indeed, monstrosity has recently become a growing focus of cultural theory. This is in part because monsters raise shared concerns about transgression, subjectivity, agency, and community. Attention to monstrosity evokes both the spectre of projection (which leads to issues of familial trauma and psychoanalysis) and shared anxieties (that in turn reflect deeply held ideologies and beliefs). By pursuing a series of insightful case studies, Scary Monsters considers different aspects of the connection between the music, gender and monstrosity. Its argument is that attention to monstrosity provides a unique perspective on the study of masculinity in popular music culture.
7
Colmeiro, José. Peripheral Visions / Global Sounds. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940308.001.0001.
Abstract:
Galician audio/visual culture has experienced an unprecedented period of growth following the process of political and cultural devolution in post-Franco Spain. This creative explosion has occurred in a productive dialogue with global currents and with considerable projection beyond the geopolitical boundaries of the nation and the state, but these seismic changes are only beginning to be the subject of attention of cultural and media studies. This book examines contemporary audio/visual production in Galicia as privileged channels through which modern Galician cultural identities have been imagined, constructed and consumed, both at home and abroad. The cultural redefinition of Galicia in the global age is explored through different media texts (popular music, cinema, video) which cross established boundaries and deterritorialise new border zones where tradition and modernity dissolve, generating creative tensions between the urban and the rural, the local and the global, the real and the imagined. The book aims for the deperipheralization and deterritorialization of the Galician cultural map by overcoming long-established hegemonic exclusions, whether based on language, discipline, genre, gender, origins, or territorial demarcation, while aiming to disjoint the center/periphery dichotomy that has relegated Galician culture to the margins. In essence, it is an attempt to resituate Galicia and Galician studies out of the periphery and open them to the world.
8
Arnold, Gordon B. Projecting the End of the American Dream. ABC-CLIO, LLC, 2013. http://dx.doi.org/10.5040/9798216001980.
Abstract:
This provocative book reveals how Hollywood films reflect our deepest fears and anxieties as a country, often recording our political beliefs and cultural conditions while underscoring the darker side of the American way of life. Long before the war in Iraq and the economic crises of the early 21st century, Hollywood has depicted a grim view of life in the United States, one that belies the prosperity and abundance of the so-called American Dream. While the country emerged from World War II as a world power, collectively our sense of security had been threatened. The result is a cinematic body of work that has America's decline and ruin as a central theme. The author draws from popular films across all genres and six decades to illustrate how the political climate of the times influenced their creation. Projecting the End of the American Dream: Hollywood's Visions of U.S. Decline combines film history, social history, and political history to reveal important themes in the unfolding American narrative. Discussions focus on a wide variety of films, including Rambo, Planet of the Apes, and Easy Rider.
9
Merl, Dan, Joseph Lucas, Joseph Nevins, Haige Shen, and Mike West. Trans-study projection of genomic biomarkers in analysis of oncogene deregulation and breast cancer. Edited by Anthony O'Hagan and Mike West. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198703174.013.6.
Abstract:
This article focuses on the use of Bayesian concepts and methods in the trans-study projection of genomic biomarkers for the analysis of oncogene deregulation in breast cancer. The objective of the study is to determine the extent to which patterns of gene expression associated with experimentally induced oncogene pathway deregulation can be used to investigate oncogene pathway activity in real human cancers. This is often referred to as the in vitro to in vivo translation problem, which is addressed using Bayesian sparse factor regression analysis for model-based translation and refinement of in vitro generated signatures of oncogene pathway activity into the domain of human breast tumour tissue samples. The article first provides an overview of the role of oncogene pathway deregulation in human cancers before discussing the details of modelling and data analysis. It then considers the findings based on biological evaluation and Bayesian pathway annotation analysis.
10
Sargent, Lyman Tower. Colonial Utopias/Dystopias. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199609932.003.0018.
Abstract:
This chapter explores colonial utopias/dystopias. Utopianism and colonialism have had direct connections from the time Thomas More inadvertently created a genre of literature when he published what is now known as his Utopia, in 1516. Utopia reflected the process of exploration taking place in the early sixteenth century that resulted in the discovery of the lands that were to become colonies. Colonists generally have the expectation of achieving a much better life by settling, while producing an actual dystopia for the original inhabitants. While the colonists did not always find what they expected, they were often led to settle by clearly utopian projections of what life would be like in the new place. Those settlers who had the leisure to write about their hopes for the future in the new place sometimes depicted what that place might look like in the future.
11
Fox, Alistair. New Zealand Coming-of-age Films: Distinctive Characteristics and Thematic Preoccupations. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429443.003.0002.
Abstract:
This chapter provides an overview of New Zealand coming-of-age films from the first feature film to be made on this theme, The God Boy (Murray Reece, 1976) to the most recent examples, Mahana (Lee Tamahori, 2016) and Hunt for the Wilderpeople (Taika Waititi, 2016), identifying trends and patterns in the evolution of this genre. Characteristic attributes are explored, such as the dialogue with national literature (of the 15 films examined in the book, all but four are adaptations); the universal tendency of filmmakers to update the setting to the time of their own childhood; the presence of personal projections and identifications in the films; the importance of the New Zealand landscape as a thematic element. Finally, the main thematic preoccupations are outlined, with a demonstration of how they shift over time in response to changing cultural and political circumstances.
12
Petrova, Svetlana, and Helmut Weiß. OV versus VO in Old High German. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198813545.003.0013.
Abstract:
This chapter surveys the word order variation in the right periphery of the clause in OHG. The investigation is based on a corpus including all dependent clauses introduced by the complementizer thaz ‘that’ in the minor OHG documents, a collection of up to forty smaller texts of various genres. The analysis shows that the majority of the data can be explained within a standard OV grammar, assuming additional extraposition of heavy XPs to the right. But apart from these cases, there is evidence supporting the assumption of leftward movement of the verb to an intermediate functional projection vP which is optional with basic OV but obligatory with basic VO. In addition, the chapter presents patterns which evidently involve verb movement to a higher functional head, above vP, and discusses the nature of the landing site of the verb in these cases.
13
Konstan, David. Comedy and the Athenian Ideal. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198748472.003.0006.
Abstract:
New Comedy was a Panhellenic phenomenon. It may be that a performance in Athens was still the acme of a comic playwright’s career, but Athens was no longer the exclusive venue of the genre. Yet Athens, or an idealized version of Athens, remained the setting or backdrop for New Comedy, whatever its provenance or intended audience. New Comedy was thus an important vehicle for the dissemination of the Athenian polis model throughout the Hellenistic world, and it was a factor in what has been termed ‘the great convergence’. The role of New Comedy in projecting an idealized image of the city-state may be compared to that of Hollywood movies in conveying a similarly romanticized, but not altogether false, conception of American democracy to populations around the world.
14
Lothian, Alexis. Old Futures. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479811748.001.0001.
Abstract:
Old Futures traverses the history of imagined futures from the 1890s to the 2010s, interweaving speculative visions of gender, race, and sexuality from literature, film, and digital media. Centering works by women, queers, and people of color that are marginalized within most accounts of the genre, the book offers a new perspective on speculative fiction studies while reframing established theories of queer temporality by arguing that futures imagined in the past offer new ways to queer the present. Imagined futures have been central to the creation and maintenance of imperial domination and technological modernity; Old Futures rewrites the history of the future by gathering together works that counter such narratives even as they are part of them. Lothian explores how queer possibilities are constructed and deconstructed through extrapolative projections and affective engagements with alternative temporalities. The book is structured in three parts, each addressing one convergence of political economy, theoretical framework, and narrative form that has given rise to a formation of speculative futurity. Six main chapters focus on white feminist utopias and dystopias of the nineteenth and twentieth centuries; on Afrofuturist narratives that turn the dehumanization of black lives into feminist and queer visions of transformation; on futuristic landscapes in queer speculative cinema; and on fan creators’ digital interventions into televised futures. Two shorter chapters, named “Wormholes” in homage to the science fiction trope of a time-space distortion that connects distant locations, highlight current resonances of the old futures under discussion.
15
Kazemi, Farshid. A Girl Walks Home Alone at Night. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859203.001.0001.
Abstract:
A Girl Walks Home Alone at Night analyses the eponymous film within three theoretical coordinates: vampire cinema, psychoanalytic (film) theory and German Idealism. The book situates the film in the history of the vampire genre through the spectral vampire in early German expressionist cinema (Murnau’s Nosferatu, 1922) and theorizes it as part of a transnational movement in Iranian films that represents ‘the uncanny’ between the two modes of ‘the weird and the eerie,’ theorized by Mark Fisher. The film is situated in relation to the history of Iranian horror films, as well as the female vampire’s evocation of the figure of the Nightmare in Iranian myth-folklore, and the cinematic vampire’s relation to Islamicate occult sciences. The book provides an intervention in second-wave psychoanalytic film theory (Joan Copjec, Slavoj Žižek) through a Lacanian reading of the film that analyzes the female vampire as ‘the return of the repressed’ of feminine sexuality, and as the Lacanian (traumatic) Real in female sexuality for the Shi’ite clerical order in Iran. The romantic love story at the heart of the film is theorized through ideas of central figures in German Idealism, such as Hegel and Schelling. The book establishes a relation between the female vampire and the spectral vampire by linking German Idealism and its deployment of metaphors such as phantasmagoria in early magic lantern projections. The book’s central theoretical intervention is an enactment of Freudo-Lacanian psychoanalytic theory and Hegelian dialectics that brings out what is hidden on the surface of the film’s textual unconscious.
16
Ogden, Daniel, ed. The Oxford Handbook of Heracles. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780190650988.001.0001.
Abstract:
The first half of the volume is devoted to the exposition of the ancient evidence, literary and iconographic, for the traditions of Heracles’ life and deeds. After a chapter each on the hero’s childhood and his madness, the canonical cause of his Twelve Labors, each of the Labors themselves receives detailed treatment in a dedicated chapter. The “Parerga” or “Side-Labors” are then treated in a similar level of detail in seven further chapters. In the second half, the Heracles tradition is analyzed from a range of thematic perspectives. After consideration of the contrasting projections of the figure across the major literary genres, epic, tragedy, comedy, philosophy, and in the iconographic register, a number of his myth-cycle’s diverse fils rouges are pursued: Heracles’ fashioning as a folkloric quest-hero; his relationships with the two great goddesses, the Hera that persecutes him and the Athena that protects him; and the rationalization and allegorization of his cycle’s constituent myths. The ways are investigated in which Greek communities and indeed Alexander the Great exploited the figure both in the fashioning of their own identities and for political advantage. The cult of Heracles is considered in its Greek manifestation, in its syncretism with that of the Phoenician Melqart, and in its presence at Rome, the last study leading into discussion of the use made of Heracles by the Roman emperors themselves and then by early Christian writers. A final chapter offers an authoritative perspective on the limitless subject of Heracles’ reception in the western tradition.