Search Results for baby

...Tania Modleski Copyright © 1988 by The Johns Hopkins University Press 1988 Three Men and Baby M Tania Modleski While some of the films in the current boom of baby boom movies suggest that woman’s primary role is to be a mother, others show men taking over this role...

... medicine and reproductive technology, and her essays have appeared in the journals Genders, English Literary History, Women's Studies , and Literature and Medicine . Jan de Bont directs Bill Paxton and Helen Hunt in Twister (1996). A Blustery Day for a Baby: Technologies of Family Formation...

... vocal modulation in “Can't Hug Every Cat” entangle with generational feminist anxieties over gendered forms of articulation such as “sexy baby voice” and “upspeak.” It argues that the problematic of the modulated voice is both technologically and thematically central to political, technological...

... with Amy Serrano concerns the documen- tary The Sugar Babies: The Plight of the Children of Agricultural Workers in the Sugar Industry of the Dominican Republic (US, 2007).2 Directed and produced by Serrano, the film is about modern-­day slavery and examines the complicity of state governments...

..., there is only one film, of the many works to which I expose my college students, that consistently cre- ates a passionate, call it vitriolic, reaction: Stan Brakhage’s twelve- minute Window Water Baby Moving (US, 1962). From “sublime!” to “disgusting!” and all the shades in between, this forty-five-year...

.... But unlike 1950s corporate culture, work for baby boomers has to be personally meaningful. 2. Frenetic activity. Yuppies are always busy so that just as work becomes personal, personal life becomes work. 3. Emphasis on the two-career childless couple; later in the decade an emphasis...

... narrative arc.20 The president explicitly drives home the eshy nature of their new reality, directly stating, “We’d better start hav- ing babies.” Yet however improbably, the audience soon discovers that the Cylons are also completely obsessed with making babies. Despite their ability...

... used a chicken carcass as a character alterna- tively embodying the role of a mother and a baby (fig. 3). Her often- times sensual engagement with raw animal meat is reminiscent of Carolee Schneemann s Meat Joy (1964), especially at the level of both artists interrogation of sexual norms. Sobell s use...

...Vivian Sobchack © 1986 by Camera Obscura 1986 Close Encounters of the Third Kind (Steven Spielberg, 1977) Child! Alien 1Father: Pa triarchal Crisis and Generic Exchange Vivian Sobchack Two very special babies were born to the American cinema in 1968: Rosemary’s and Stanley...

... in its display of bourgeois affect than thirtysomething. The series represents ABC’s first contri- bution to the trend begun by NBC’s L.A. Law, and continued by series 88 like The Wonder Years, Baby Boom and Almost Grown: television’s attempt to reach the demographic group most desirable...

... debt to Brakhage -in her self-referential subject matter and unconventional filming strate• gies, and particularly in making a "birth" film (Misconception, 1977) which begs comparison with Brakhagc's Window Water Baby Moving. But Taubin is primarily interested in arguing for the strength...

...Figure 6. The film closes on a long take of Anna smiling and crying, having just delivered the baby, with Matt off-screen. Together Together (dir. Nikole Beckwith, US, 2021) ...

... wave. Another, perhaps more dramatic, example of the toy industry’s utilization of the popularity of hair play and dolls for Black girls is the marketing of Tyco’s Sparkle Pretty Kenya and her sister Baby Kiana. 19 Like Black Barbie and the Shani line, Sparkle Pretty Kenya...

... of rhetorical wealth. My country needs me, and if I were not here, I would have to be invented.  — Hortense  J. Spillers, “Mama’s Baby, Papa’s Maybe: An American Grammar Book” It is the year 2027 in Alfonso Cuarón’s film, Children of Men ( Japan/UK/US, 2006), and the camera pans over a collage...

.... These “dramedies which included Frank’s Place, Hoopeman, The Slap Maxwell Story, The Wonder Years, and thirtysomething, were generally developed to reach an urban, 18 to 49-year-old, well-educated, upwardly mobile, and politically liberal (“yuppie” or “baby boomer”) demographic...

.... Since being expelled at age sixteen when she got knocked up, Kiki has danced, sung, turned tricks, toured, and imbibed vast quantities of booze to get by. She has endured ill-fated romances, an estranged gay son, a daughter who drowned, and a late-in-life baby. As a duo, Kiki and Herb have...

... name five times in front of a mirror. In the teenager's narrative, an urban legend transmitted by a "friend of a friend who knew someone," a baby-sitter invites her boyfriend to the house and dares him to perform the incantation. The boyfriend pronounces the name four times...