Search Results for velvet

.... She also produces television documentaries and short films. Velvet portrait of the “dusky maiden” from Velvet Dreams (dir. Sima Urale, New Zealand, 1997). Courtesy of TopShelf Productions Darkness and Light: Dusky Maidens and Velvet Dreams Sarina Pearson Historically, Pacific...

...David Copenhafer In David Lynch's Blue Velvet , music is a key component of the film's intricate staging of gender and sexuality. “Mourning and Music” interprets four scenes in which characters either sing songs or imitate singing. It argues that the unsettling appearance of gender and sexuality...

.... Currently he is a visiting assistant professor at the University of Southern California's School of Cinema-Television. Courtesy Miramax Traumatic Postmodern Histories: Velvet Goldmine’s Phantasmatic Testimonies Edward R. O’Neill If modernity was characterized by and imagined itself...

...Lesley Stern Copyright © 1992 by Indiana University Press 1992 Blue Velvet (David Lynch, 1986) The Oblivious Transfer: Analyzing Blue Velvet Lesley Stern 1. Me Jane Before I begin there is something I want you to remember. Whatever I have to say, today, about Blue Velvet, I say...

... liminal. Through close readings of The Seven Year Itch, Blue Velvet, Three Little Pigs , and The Empire Strikes Back , I track the range of meaning found in cinematic breathing, from the figurative presence of erotic breath in pornography to the literal associations of air and environment in animation...

...; it brags of its dependence on accessories. Glam rock, for instance, is explicitly defined against the “natural” androgyny of hippie culture. Velvet Goldmine’s (dir. Todd Haynes, UK/US, 1998) dandy diva is born only after the folk musician Brian Slade (Jonathan Rhys Meyers) abandons...

... in the cinema, psychoanalytic theory, television, and sexual and racial difference in film. Jonathan Rhys-Meyers as Brian Slade/Maxwell Demon in Velvet Goldmine (UK/US, 1998). Courtesy Miramax Pathos and Pathology: The Cinema of Todd Haynes Mary Ann Doane Because infinity—for the eye—begins...

.... The women also speak a desire for the dis- course, its narrative fiction: Sarah: He lays her down on the sofa. . . Beth: Which is covered in red velvet. . . Sarah: Of course. He removes her shawl from her shaking body. . . Gerry: To expose. . . Sarah: . . .her cardigan. He takes off...

...• munications and teaches in the Women's Studies Program at the University of Denver. She is particularly interested in questions of the context of inter• pretation and has published essays in such journals as Wideangle, The Velvet Light Trap, and Cinema Journal. ...

..., is writing a dissertation on the “political avant-garde.” He has published in Camera Obscuva, Wide Angle, The Velvet Light Trap, Tabloid, andUndercut. His most recent film is 2963, a meditation on history and violence. Philip Rosen is the Director of Screen Studies, Clark...

... candidate in Communication Arts at the Uni- versity of Wisconsin-Madison. His work on popular culture has appeared or is forthcoming in Wide Angle, Journal of Communications Inquiry, Critical Studies in Mass Communication, and The Velvet Light Trap. Lynne Kirby is a doctoral candidate in Critical...

.... Welles eventually discovers Dino Velvet (Peter Stormare), the snuff filmmaker, because of this identifiable visual style. In some cir- cles, Velvet’s work is admired as art. He’s “like the Jim Jarmusch of S & M,” Max explains. There is a perverse form of nostalgia at work in 8MM, a harkening...

..., Carol Shooting the Mother: Fetal Photography and the Politics of Disappearance. NO. 28; pp. 179-205. Stern, Lesley The Oblivious Transfer: Analyzing Blue Velvet. No. 30; pp. 77-90 Stone, Sandy The Empire Strikes Back: A Posttranssexual...

... Rothman and Swartz to join him. There, she directed The Student Nurses (US, 1970) and The Velvet Vampire (US, 1971). In 1972, Rothman, Swartz, and their New World Pictures colleague Lawrence “Larry” Woolner formed the production/distribution company Dimension Pictures, where Rothman served...

... University. He has published on American broadcasting and film history in publications ranging from SMPTE Journal, The Velvet Light Trap, Cinema Journal, and American Cinematographer. Nina Leibman is a doctoral candidate and a teaching fellow in the Department...

..., starting them off with outfits made from the same iridescent velvet fabric with a difficult-­ Veˇra Chytilová’s The Fruit of Paradise  • 83 to-­pin-­down deep burgundy hue with rust undertones. The fabric’s iridescent color marks these characters — particularly Robert, who...

.... Campbell’s delight in the “psychosexual kick,” represents a typical inability to examine specifics. She is correct, at first glance, I think, to understand both Wild at Heart and Blue Velvet as rehearsing anxieties about the breakdown of the paternal metaphor in contemporary cul- ture (by which I...

... Jane, You Tarzan: A Case of Mistaken Identity in Paradise.” Continuum 1 , no. 2-3 ( 1987c ): 159 –74. Creed , Barbara . “A Journey through Blue Velvet: Film, Fantasy and the Female Spectator,” New Formations 6 ( 1988 ): 97 –117. Dermody , Susan . “Not Necessarily a Lead Dress...

...). From there, Little became a prolific writer for Flipper (NBC, 1964 67) and served as its longtime story editor, while Gei- ger became the story editor for National Velvet (NBC, 1960 62).47 As story editors, women like Little and Geiger sustained and sup- ported the growth of numerous television...

... is given to wearing crushed-velvet smok- ing jackets or ornate, flowing monks’ robes, and to dancing over Vincent Price and Me  •  149 rococo ballroom floors with his beautiful model-like henchwoman, Vulnavia (played by Virginia North in the original and Valli...