... Woolf's modernist “moment of being”; the performativity of gender and kinship (Judith Butler, Eve Kosofsky Sedgwick); and theories of queer time and affect (Judith Halberstam, Elizabeth Freeman, Lauren Berlant). These readings probe The Hours 's return to mediated cultural ideals of white conjugal...

..., Clarissa was positive, a particular hush, or solemnity; an indescribable pause; a suspense . . . before Big Ben strikes. There! Out it boomed. First a warning, musical; then the hour, irrevocable. —Virginia Woolf, Mrs. Dalloway As a motif throughout Virginia Woolf’s novel Mrs. Dalloway...

...,” as Virginia Woolf puts it,15 available? C’est toujours a l’imparfait de l’objectif Que tu conjugues le verbe photographier Jacques PriverP The adequate sentence is not to be found...

... want no country; as a woman my country is the whole world.  — Virginia Woolf, Three Guineas Here was the soup. It was a plain gravy soup. . . . One could have seen through the transparent liquid any pattern that there might have been on the plate itself. But there was no pattern...

... Culturale Virginia Woolf, 1984 . Grignaffini , Giovanna . “La foto del sogno.” Lapis 1 (November 1987 ). Liehm , Mira . Passion and Defiance: Film in Italy from 1942 to the Present . Berkeley: University of California Press, 1984 . Magli , Patrizia . Corpo e linguaggio . Rome...

.... In a series of writings in the 1920s and 1930s, Virginia Woolf offered scathing criticisms of the traditional ideal of subservient woman- hood; several of these bear a substantial connection to the plot of The King and I. Most obvious, in this context, is Woolf’s famous contention, in A Room of One’s...

... Woolf ’s observation about women’s books that they “continue each other, in spite of our habit of judging them separately.”7 Reichardt greatly admires the French director’s work and particularly the autonomous conditions under which she produces her projects.8 While Denis is certainly...

... questions which we experience in everyday life without look- ing for them. I also think Virginia Woolf wasn’t speaking in metaphors when she wrote about food for thought in A Room of One’s Own. School of Cinema-Television...

... may “address the spectator as female” (132), and may thus result in—different—possibilities of female agency. Politics In the West, Sally Potter’s Orlando, the reworking of Virginia Woolf’s classic novel, was a relative box office success and a sig- nificant event for feminist film studies.17...

.... SM: When I heard you had made Orlando, I reread Woolf's novel. I have to say I was again disappointed in it. There are a lot of interesting dimensions to the book, especially the idea of having the character go through these impossible transformations, but the articulation...

... circulation in the contemporary global terrain of film festivals and criticism. In a recent essay, Kathleen McHugh provides an instructive point of departure for considering women filmmakers and trans- national paradigms, drawing on Virginia Woolf’s proclamation: “As a woman I have no country...

... questions which we experience in everyday life without look- ing for them. I also think Virginia Woolf wasn’t speaking in metaphors when she wrote about food for thought in A Room of One’s Own. School of Cinema-Television...

... criticism and the scant film writings of Vir- ginia Woolf (in which some “simple” actualities intended for the “ordinary eye” initiate an inquiry into how film delivers the “real with a different reality from that which we perceive in daily life,” while the appeal of The Cabinet of Dr. Caligari [dir...

... Hall, Una Troubridge, Noël Cow- ard, Marlene Dietrich, Mick Jagger, David Bowie, Joan Jett, Andy Warhol, and fictional characters like Dorian Gray, Orlando (from 6  •  Camera Obscura Virginia Woolf’s novel), and Jack Fairy (in the filmThe Velvet Gold- mine). In Fontenot’s account, becoming...

... like audience or spectator or viewer cover up, smoothing over social, historical, racial, chronological, ec- onomic, cultural and sexual differences. I rather like the thought of being a spectatrix, affected as it may seem at first. As Virginia Woolf, older and angrier...

... Upstairs, Downstairs because Galsworthy, unlike his modernist con- temporaries T.S. Eliot, Ezra Pound, and Virginia Woolf, held fast to the traditions of nineteenth-century realism and turned his back, so to speak, on the innovations of experimental literature. So persuasive...

... the illumination of other people’s eyes, and therefore cannot be entirely sure what is my self.” —Bernard from Virginia Woolf’s The Waves In 1992–93, an exhibition titled Visualising Masculinities was featured at the Tate Gallery in London. The declared aim of the exhibition was to examine “the display...

... for us to state the simple fact; Orlando was a man till the age of thirty; when he became a woman and has remained so ever since.  — Virginia Woolf, Orlando Camera Obscura turns thirty in 2006. The editors eschewed, or neglected, marking twenty-five, a somewhat unformed age, in favor...

.... This is, after all, a quarter century into the birth of artistic and literary modernism, a birth that made much of its attractions to so-called African imports. When Virginia Woolf made the unequivocal claim that “in or about December, 1910, human character changed,” she tied this sea change directly...

... World in Five Episodes}, 126 min., 35mm, color; distributor: Basis Film Verleih. As the subtitle indicates, this film takes up the metaphor of the world as a stage, a favorite literary form since the Baroque for formulating social criticism. Inspired by Goya's drawings and Virginia Woolfs...