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Addressing representation and identity in a variety of production styles and genres, including experimental film and documentary, independent and mainstream film, and television drama, Filming Difference poses fundamental questions about the ways in which the art and craft of filmmaking force creative people to confront stereotypes and examine their own identities while representing the complexities of their subjects. Selections range from C. A. Griffith’s “Del Otro Lado: Border Crossings, Disappearing Souls, and Other Transgressions” and Celine Perreñas Shimizu’s “Pain and Pleasure in the Flesh of Machiko Saito’s Experimental Movies” to Christopher Bradley’s “I Saw You Naked: ‘Hard’ Acting in ‘Gay’ Movies,” along with Kevin Sandler’s interview with Paris Barclay, Yuri Makino’s interview with Chris Eyre, and many other perspectives on the implications of film production, writing, producing, and acting. Technical aspects of the craft are considered as well, including how contributors to filmmaking plan and design films and episodic television that feature difference, and how the tools of cinema—such as cinematography and lighting—influence portrayals of gender, race, and sexuality. The struggle between economic pressures and the desire to produce thought-provoking, socially conscious stories forms another core issue raised in Filming Difference. Speaking with critical rigor and creative experience, the contributors to this collection communicate the power of their media.

Table of Contents

  1. Cover
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  1. Frontmatter
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  1. Contents
  2. pp. vii-viii
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  1. Acknowledgments
  2. p. ix
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  1. Different Visions, Revolutionary Perceptions: Race, Gender, and Sexuality in the Work of Contemporary Filmmakers
  2. pp. 1-13
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  1. PART 1. EXPOSING BODIES
  2. p. 15
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  1. Chapter 1. Disability Is Us: Remembering, Recovering, and Remaking the Image of Disability
  2. pp. 17-40
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  1. Chapter 2. “I Saw You Naked”: “Hard” Acting in “Gay” Movies
  2. pp. 41-53
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  1. Chapter 3. Pain and Pleasure in the Flesh of Machiko Saito’s Experimental Movies
  2. pp. 55-72
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  1. PART 2. BORDER VISIONS
  2. p. 73
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  1. Chapter 4. Framing Identities / The Evolving Self: Beyond the Academic Director
  2. pp. 75-94
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  1. Chapter 5. Indigenism, (In)Visibility: Notes on Migratory Film
  2. pp. 95-117
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  1. Chapter 6. Traversing Cinematic Borders: An Interview with Paul Espinosa
  2. pp. 119-136
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  1. PART 3. GLOBAL IDENTITIES
  2. p. 137
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  1. Chapter 7. Del Otro Lado: Border Crossings, Disappearing Souls, and Other Transgressions
  2. pp. 139-164
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  1. Chapter 8. Faith in Sexual Difference: The Inquisition of a Creative Process
  2. pp. 165-186
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  1. Chapter 9. Dead Conversations on Art and Politics: Jos
  2. pp. 187-205
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  1. PART 4. INDEPENDENT AMBITIONS
  2. p. 207
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  1. Chapter 10. Neither Color Blind, Nor Near-Sighted: Representation, Race, and the Role of the Academic Filmmaker
  2. pp. 209-221
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  1. Chapter 11. Preparing to Perform the Other: Developing Roles Different from Oneself
  2. pp. 223-245
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  1. Chapter 12. Cinematic Reservations: An Interview with Chris Eyre
  2. pp. 247-260
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  1. PART 5. TRUE HOLLYWOOD STORIES
  2. p. 261
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  1. Chapter 13. “And Maybe There Is a Way to Give Hollywood the Kick in the Ass That It Needs”: An Interview with Filmmaker Karyn Kusama
  2. pp. 263-288
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  1. Chapter 14. From Selena to Walkout: An Interview with Moctesuma Esparza
  2. pp. 289-302
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  1. Chapter 15. Negotiating the Politics of (In)Difference in Contemporary Hollywood: An Interview with Kimberly Peirce
  2. pp. 303-322
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  1. Chapter 16. Televising Difference: An Interview with Paris Barclay
  2. pp. 323-234
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  1. Selected Bibliography (Compiled by Chiara Ferrari)
  2. pp. 343-356
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  1. Contributors
  2. pp. 357-362
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  1. Index
  2. pp. 363-378
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Additional Information

ISBN
9780292793552
Related ISBN
9780292719231
MARC Record
OCLC
429918102
Pages
390
Launched on MUSE
2012-01-01
Language
English
Open Access
No
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