Kirjahaku

In recent decades, male bisexuality has become a recurring topic in international cinema, as filmmakers and their works challenge our ideas about sexual freedom and identity. In all of these films, more than a dozen of which are covered here, bisexuality is treated both as an actual practice and a complex metaphor for a number of things, including the need to adapt to changing environments, the questioning of rigidly traditional male roles and identities, the breakdown and regeneration of the structures of families, the limitations of monogamy, and the stubborn affirmation of romantic love.

The early surrealists attempted to create art directly from the unconscious, but the resulting art often reveals the stamp of its age. It is generally accepted that a certain macho sensibility prevailed within the movement, excluding queer sensibilities and reducing women to object status. In startling new readings of Breton, Bataille, Cocteau, Artaud, Crevel and others, Justin Vicari examines the intersections between surrealism and mental illness, deploying an interdisciplinary approach, which includes aesthetic theory, radical politics, and psychoanalysis. Of particular interest is the representation of the ideal woman as not only sexually available but mentally ill, a hysteric muse representing a kind of "authenticity" lost in modern life.

Nicolas Winding Refn has emerged as a uniquely talented international filmmaker with an eye for visceral, iconic images. A 21st century mythmaker from his cult Pusher trilogy to the award-winning Drive and Only God Forgives, Refn infuses a sophisticated avant-garde sensibility with the grit of exploitation cinema. This book relates Refn's films to the ideas of Nietzsche, Canetti, Blanchot and others, and to aesthetic theory in general. It also asks why the West has become a largely artificial society, unable to generate new communal mythologies. Instructors considering this book for use in a course may request an examination copy here.

Beloved, controversial, influential, the creator of such fascinating and award-winning films as My Own Private Idaho, Good Will Hunting, Elephant, and Milk, Gus Van Sant stands among the great international directors, equally at home in Hollywood and the avant-garde. Examining his films thematically, this book finds consistency of vision in Van Sant's unique approach to cinema, which deploys postmodernist techniques such as appropriation, nonlinear narrative, and queering--not in the service of the chic but to apply an all-inclusive viewpoint to ageless tales of life, love and death. Van Sant's films are viewed through a multi-genre prism, including the work of Bruce Weber and Derek Jarman, the westerns of Sam Peckinpah, the music of the Velvet Underground and Nirvana, the fiction of Sam D'Allesandro, and especially the "cut-up"/collage practice of intertextual authorship pioneered by William Burroughs.

Are people nothing more than their physical capital--what their bodies can produce and provide? This philosophical treatise examines the idea of mutational bodies as it has appeared in fiction and cinema since the industrial era, theorizing that capitalism and other modern collective systems require transformations both literal and figurative for the individual to survive. Infringements on individualism include both the concept of eternity, which asks that we resign ourselves to life and death as endless waiting, and the Hegelian dialectic itself, which has been reversed by neoconservative thinkers into a new conviction that the rich are oppressed by the poor. In response, this work suggests the inauguration of a post-dialectic "ethical materialism." Subjects considered include the films of Charlie Kaufman and Stan Brakhage, the fiction of Philip Roth and Don DeLillo, the feminist art criticism of Lucy Lippard, and the meanings of virtuality and the internet.

Japanese film is enduringly fascinating, challenging and rewarding. This book provides a cultural, historical and philosophical study of Japanese film, from the silent era to the present-day, focusing on its expansive consciousness. The author examines masterpieces by Ozu, Mizoguchi, Oshima and many other directors, discussing their influence on the Japanese culture of esoteric Zen Buddhism and relating them to recent neuroscientific theories of brain trauma.