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An analysis of what contemporary directors seek to attain by putting their spectators in a position of strong discomfort
An analysis of what contemporary directors seek to attain by putting their spectators in a position of strong discomfort
In Feel-Bad Postfeminism, Catherine McDermott provides crucial insight into what growing up during empowerment postfeminism feels like, and outlines the continuing postfeminist legacy of resilience in girlhood coming-of-age narratives. McDermott's analysis of Gone Girl (2012), Girls (2012–2017) and Appropriate Behaviour (2012) illuminates a major cultural turn in which the pleasures of postfeminist empowerment curdle into a profound sense of rage and resentment. By contrast, close examination of The Hunger Games (2008–2010), Girlhood (2014) and Catch Me Daddy (2014) reveals that contemporary genres are increasingly constructing girls as uniquely capable of resiliently overcoming and adapting to unforgiving social conditions. She develops an affective vocabulary to better understand contemporary modes of defiant, transformative and relational resilience, as well as a framework through which to expand on further modes that are specific to the genres they emerge within. Overall, the book suggests that exploration of the affective dimensions of girls' and women's culture can offer new insights into how coming-of-age, girlhood and femininity are culturally produced in the aftermath of postfeminism.
A hilariously filthy tale of sex, crime, and family dysfunction from the brilliantly twisted mind of John Waters, the legendary filmmaker and bestselling author of Mr. Know-It-All. Marsha Sprinkle: Suitcase thief. Scammer. Master of disguise. Dogs and children hate her. Her own family wants her dead. She’s smart, she’s desperate, she’s disturbed, and she’s on the run with a big chip on her shoulder. They call her Liarmouth—until one insane man makes her tell the truth. Liarmouth, the first novel by John Waters, is a perfectly perverted “feel-bad romance,” and the reader will thrill to hop aboard this delirious road trip of riotous revenge.
'Like a pizza delivery driver who travels everywhere by moped, or a volcanologist who keeps turning the central heating up, I'm a film critic who loves going to the cinema.' - Peter Bradshaw. Peter Bradshaw is the film reviewer for intelligent, curious cinemagoers; he has worked at the Guardian for twenty years. The Films That Made Me collates his finest reviews from the last two decades, which carry with them his deep experience, knowledge and understanding of film. Introducing each section with a brief introductory article in his light, humorous tone, and ranging from The Cat in the Hat and the Twilight Saga to Synecdoche: New York, Bradshaw shares the films that he loved, the films that he hated, the films that made him laugh, cry, swoon and scared. Bradshaw's reviews range from the insightful and introspective to the savage and funny. The Films That Made Me is a must read for all film fanatics.
Mastering Fear analyzes horror as play and examines what functions horror has and why it is adaptive and beneficial for audiences. It takes a biocultural approach, and focusing on emotions, gender, and play, it argues we play with fiction horror. In horror we engage not only with the negative emotions of fear and disgust, but with a wide range of emotions, both positive and negative. The book lays out a new theory of horror and analyzes female protagonists in contemporary horror from child to teen, adult, middle age, and old age. Since the turn of the millennium, we have seen a new generation of female protagonists in horror. There are feisty teens in The Vampire Diaries (2009–2017), troubled mothers in The Babadook (2014), and struggling women in the New French extremity with Martyrs (2008) and Inside (2007). At the fuzzy edges of the genre are dramas like Pan's Labyrinth (2006) and Black Swan (2010), and middle-age women are now protagonists with Carol in The Walking Dead (2010–) and Jessica Lange's characters in American Horror Story (2011–). Horror is not just for men, but also for women, and not just for the young, but for audiences of all ages.
Eight centuries from now-- long after the Big Mistake and the death of Old Earth-- humanity is again on the brink of war. Galactic war this time.
Focusing on the sexualized violence of Stieg Larsson's bestselling Millennium trilogy – including the novels, Swedish film adaptations, and Hollywood blockbusters – this collection of essays puts Larsson's work into dialogue with Scandinavian and Anglophone crime novels by writers including Jo Nesbø, Håkan Nesser, Mo Hayder and Val McDermid.
The inspiration for a television comedy from Executive Producer Amy Poehler, I Feel Bad is out now on NBC. “Auslander’s idiosyncratic drawing style, with loopy lines that appear to unravel as though they’re loosely crocheted, is anxiety personified… [I Feel Bad] belongs to the brand of humor whose main gag is that mothers are human… [Auslander] goes dark and specific, transcending the theme.”—Anya Ulinich, The New York Times Book Review Roz Chast meets Allie Brosh in this hilarious, unfiltered, and beautifully illustrated look at the infinite number of reasons the author experiences guilt, shame, regret and self-reproach in her daily life, and that maybe—just maybe—some of us can relate to as well. In a series of 100 illustrations with accompanying text, Orli Auslander has captured a mood and emotional ambivalence that will be all too familiar for readers: trying to be the best wife, mother, and friend she can be, while simultaneously feeling shitty about virtually everything she does. Confronting her daily experience with dark humor and brilliant and brutal honesty, she shows us how being an overindulgent mother makes her feel as terrible as the times when she can't stand the sight of her kids; how saying yes to the wrong experiences and no to the right requests is equally bad; how her Jewish heritage complicates her relationships with her overly religious family and irreligious children; and how having a vagina is the ultimate inescapable struggle. With a distinctive, textured ink drawing style which brings to mind a female Robert Crumb and a neurotic Edward Gorey, I Feel Bad is a book that readers will buy for themselves and for a best friend, and where every reader will find the precise moment that Auslander voiced their own deepest anxiety in her poignant and hilarious illustrations.
A groundbreaking parenting guidebook addressing the trait of “high sensitivity” in children, from the psychologist and bestselling author of The Highly Sensitive Person whose books have sold more than 1 million copies With the publication of The Highly Sensitive Person, pioneering psychotherapist Dr. Elaine Aron became the first person to identify the inborn trait of “high sensitivity” and to show how it affects the lives of those who possess it. In The Highly Sensitive Child, Dr. Aron shifts her focus to the 15 to 20 percent of children who are born highly sensitive—deeply reflective, sensitive to the subtle, and easily overwhelmed. These qualities can make for smart, conscientious, creative children, but also may result in shyness, fussiness, or acting out. As Dr. Aron shows in The Highly Sensitive Child, if your child seems overly inhibited, particular, or you worry that they may have a neurodevelopmental disorder, such as ADHD or autism, they may simply be highly sensitive. And raised with proper understanding and care, highly sensitive children can grow up to be happy, healthy, well-adjusted adults. Rooted in Dr. Aron’s years of experience working with highly sensitive children and their families, as well as in her original research on child temperament, The Highly Sensitive Child explores the challenges of raising an HSC; the four keys to successfully parenting an HSC; how to help HSCs thrive in a not-so-sensitive world; and how to make school and friendships enjoyable. With chapters addressing the needs of specific age groups, from newborns to teens, The Highly Sensitive Child is the ultimate resource for parents, teachers, and the sensitive children in their lives.