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Film culture often rejects visually rich images, treating simplicity, austerity, or even ugliness as the more provocative, political, and truly cinematic choice. Cinema may challenge traditional ideas of art, but its opposition to the decorative represents a long-standing Western aesthetic bias against feminine cosmetics, Oriental effeminacy, and primitive ornament. Inheriting this patriarchal, colonial perspective - which treats decorative style as foreign or sexually perverse - filmmakers, critics, and theorists have often denigrated colorful, picturesque, and richly patterned visions in cinema. Condemning the exclusion of the "pretty" from masculine film culture, Rosalind Galt reevaluates received ideas about the decorative impulse from early film criticism to classical and postclassical film theory. The pretty embodies lush visuality, dense mise-en-scene, painterly framing, and arabesque camera movements-styles increasingly central to world cinema. From European art cinema to the films of Wong Kar-wai and Santosh Sivan, from the experimental films of Derek Jarman to the popular pleasures of Moulin Rouge!, the pretty is a vital element of contemporary cinema, communicating distinct sexual and political identities. Inverting the logic of anti-pretty thought, Galt firmly establishes the decorative image as a queer aesthetic, uniquely able to figure cinema's perverse pleasures and cross-cultural encounters. Creating her own critical tapestry from perspectives in art theory, film theory, and philosophy, Galt reclaims prettiness as a radically transgressive style, shimmering with threads of political agency. -- Book Description.

Motion pictures --- Aesthetics. --- 791.41 --- esthetica --- film --- filmtheorie --- Aesthetics

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As famous in Southeast Asia as Dracula is in the West, the pontianak is a terrifying, fanged female vampire who is a much-loved and much-feared monster in Malay cultures. In traditional folklore, the pontianak is a woman who has died as a result of male violence or childbirth and whose return upsets the gender, political, and social norms of Malay society. A central figure in traditional Malay culture, the pontianak was also a crucial figure in postcolonial Malaysia and Singapore, and a staple of their national cinemas. The return to pre-colonial myth during the founding of the postcolonial nations of Malaysia and Singapore reveals cinema's role in popular culture's depiction of and engagement with the tensions of decolonization. Rosalind Galt argues that the postcolonial pontianak registers a series of intersecting anxieties: about femininity and modernity; about local and transnational cultural influences; about the relationship of Islam to indigenous beliefs; and about urbanization and globalization. Rosalind Galt begins her study in colonial Malay when the film industry was an amalgam of Indian, Chinese, Malaysian, and British influences and follows the pontianak film from the 1950s to Singapore's independence in 1965 to the present where it has reemerged in Malaysia as religious-based censorship has loosened in the 2000s. In addition to the films themselves, Galt considers how these films traveled around the region, and their reception by fans around the world.

Ghosts in motion pictures. --- Ghosts in popular culture --- Decolonization --- Social aspects --- Malaysia --- Singapore

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Art

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Proposing a radical vision of cinema's queer globalism, Karl Schoonover and Rosalind Galt explore how queer filmmaking intersects with international sexual cultures, geopolitics, and aesthetics to disrupt dominant modes of world making. Whether in its exploration of queer cinematic temporality, the paradox of the queer popular, or the deviant ecologies of the queer pastoral, Schoonover and Galt reimagine the scope of queer film studies. The authors move beyond the gay art cinema canon to consider a broad range of films from Chinese lesbian drama and Swedish genderqueer documentary to Bangladeshi melodrama and Bolivian activist video. Schoonover and Galt make a case for the centrality of queerness in cinema and trace how queer cinema circulates around the globe - institutionally via film festivals, online consumption, and human rights campaigns, but also affectively in the production of a queer sensorium. In this account, cinema creates a uniquely potent mode of queer worldliness, one that disrupts normative ways of being in the world and forges revised modes of belonging.

Sociology of the family. Sociology of sexuality --- Film --- Homosexuality in motion pictures --- Homosexuality and motion pictures --- Motion pictures --- Mass media and gays --- Political aspects --- 798.3 --- film --- cinema --- LGBTQ+ (lesbian, gay, bisexual, transgender, queer and others) --- gender --- filmgeschiedenis --- filmtheorie --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Gays and mass media --- Gays --- Motion pictures and homosexuality --- film, esthetiek en kritiek --- History and criticism --- Homosexuality in motion pictures. --- Homosexuality and motion pictures. --- Political aspects. --- Transgender people in motion pictures. --- Motion pictures - Political aspects --- Mass media and gays - Political aspects --- Mass media and gay people

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Cinema of Crisis: Film and Contemporary Europe explores the politics and aesthetics of filmmaking across a continent in flux. This urgent and necessary collection brings together scholars from Spain to Estonia, Hungary to Britain, in order to trace European filmmakers’ diverse responses to the interlinked upheavals and emergencies of the past three decades. Covering topics such as the collapse of the eastern bloc; deindustrialisation; the 2008 crash and the eurozone debt crisis; austerity and neoliberalism, as well as ‘Fortress Europe’ and the ‘refugee crisis’, this book investigates a range of audiovisual forms, including documentaries, the work of arthouse auteurs, and videos posted on YouTube. It engages in highly topical debates in political and aesthetic spheres, and explores key interfaces between the two.

Motion pictures --- Neoliberalism in popular culture. --- Politics in motion pictures. --- Social problems in motion pictures. --- Social aspects --- Economic aspects --- Production and direction --- History --- Europe --- Economic conditions --- In motion pictures.