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Motion pictures --- Social classes in motion pictures. --- Social classes. --- Political aspects. --- Social aspects.

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With its focus on dangerous, determined femmes fatales, hardboiled detectives, and crimes that almost-but-never-quite succeed, film noir has long been popular with moviegoers and film critics alike. Film noir was a staple of classical Hollywood filmmaking during the years 1941-1958 and has enjoyed a resurgence in popularity since the 1990s. Dames in the Driver's Seat offers new views of both classical-era and contemporary noirs through the lenses of gender, class, and race. Jans Wager analyzes how changes in film noir's representation of women's and men's roles, class status, and racial identities mirror changes in a culture that is now often referred to as postmodern and postfeminist. Following introductory chapters that establish the theoretical basis of her arguments, Wager engages in close readings of the classic noirs The Killers, Out of the Past, and Kiss Me Deadly and the contemporary noirs L. A. Confidential, Mulholland Falls, Fight Club, Twilight, Fargo, and Jackie Brown. Wager divides recent films into retro-noirs (made in the present, but set in the 1940s and 1950s) and neo-noirs (made and set in the present but referring to classic noir narratively or stylistically). Going beyond previous studies of noir, her perceptive readings of these films reveal that retro-noirs fulfill a reactionary social function, looking back nostalgically to outdated gender roles and racial relations, while neo-noirs often offer more revisionary representations of women, though not necessarily of people of color.

Film noir --- Sex role in motion pictures. --- Race in motion pictures. --- Social classes in motion pictures. --- History and criticism. --- Motion pictures

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Like many Eastern European countries, Poland has seen a succession of divergent economic and political regimes over the last century, from prewar "embedded capitalism," through the state socialism of the Soviet era, to the present neoliberal moment. Its cinema has been inflected by these changing historical circumstances, both mirroring and resisting them. This volume is the first to analyze the entirety of the nation's film history-from the reemergence of an independent Poland in 1918 to the present day-through the lenses of political economy and social class, showing how Polish cinema documented ordinary life while bearing the hallmarks of specific ideologies.

Social classes in motion pictures. --- Social problems in motion pictures. --- Motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Social aspects --- Economic aspects --- History --- History and criticism --- Poland --- In motion pictures. --- Social classes in motion pictures --- Classes sociales --- Cinéma --- Au cinéma --- Histoire --- Poland in motion pictures --- Pologne --- Au cinéma. --- Social problems in motion pictures --- Cinéma --- Au cinéma. --- Au cinéma

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L'intérêt du public n'a jamais faibli pour Jacques Demy, un des cinéastes les plus singuliers de la Nouvelle Vague, auteur entre autres de "Lola", "Les Parapluies de Cherbourg", "Les Demoiselles de Rochefort", "Peau d'Âne" et "Une chambre en ville". Aucune monographie nouvelle, pourtant, ne lui a été consacrée en France depuis plus de vingt ans, comme s'il ne devait être l'objet que des somptueux livres d'images qui se sont multipliés sur sa vie et son oeuvre. L'étude finement détaillée de l'universitaire américaine Anne E. Duggan vient combler ce manque et stimuler la réflexion en s'attachant principalement à cinq films analysés en profondeur (aussi bien "Lola", "Les Parapluies de Cherbourg" et "Peau d'Âne" que les moins connus "The Pied Piper" et "Lady Oscar") pendant que d'autres films du cinéaste sont évoqués plus rapidement. L'approche théorique d'Anne Duggan rompt radicalement avec le consensus critique établi autour de l'oeuvre de Demy, puisqu'elle choisit de se placer dans le double éclairage des études sur le conte (dont elle retrouve les archétypes jusque dans "Lola" et dans "Les Parapluies de Cherbourg") et des queer studies qui, dans la continuation des gender studies, cherchent à identifier une pratique artistique fondée sur le refus des marges et des frontières. Le livre d'Anne Duggan est une contribution majeure au renouvellement du discours critique sur Demy. C'est aussi un superbe hommage à la complexité d'une oeuvre cinématographique dont on ne se lasse pas d'explorer les faces les plus secrètes.

Théorie queer --- Au cinéma --- Demy, Jacques, --- Critique et interprétation --- Au cinéma. --- Sex role in motion pictures --- Social classes in motion pictures --- Fairy tales in motion pictures --- Demy, Jacques --- Critique et interprétation. --- Criticism and interpretation --- Demy, Jacques - Criticism and interpretation --- Film Radio Television --- cinéma --- contes --- queer

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"Ritter offers an extensive theoretical analysis of the alliance of the value systems inherent in postwar mental hygiene films (class-based ideals, democracy, patriotism) with writing education--an alliance that continues today by way of the mass digital technologies used in teaching online. She further details the larger material and cultural forces at work in the production of these films behind the scenes and their effects on education trends"--

LANGUAGE ARTS & DISCIPLINES / Composition & Creative Writing. --- LANGUAGE ARTS & DISCIPLINES / Literacy. --- English language --- Mass media in education --- Motion pictures in education. --- Social classes in motion pictures. --- Motion pictures --- Social guidance films --- Germanic languages --- Education --- Moving-pictures in education --- Audio-visual education --- Guidance films, Social --- Mental hygiene films --- Educational films --- Study and teaching (Higher) --- Social aspects --- History and criticism. --- Social mobility