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The Desiring-Image redefines queer cinema as a kind of filmmaking that conveys sexuality and desire as fundamentally fluid for all people, exceeding familiar stories and themes in many LGBT movies.
This text redefines queer cinema as a kind of filmmaking that conveys sexuality and desire as fundamentally fluid for all people, exceeding familiar stories and themes in many LGBT movies.
In the 1970s, Kelly's transgressive projects helped to instigate conceptual art's second phase; her daring critiques of the female body as a fetishized, allegorized, commodified site were debated long after they were first seen in galleries and discussed in catalogues, and long before the debut of the "bad girls" in the 1990s. In fact, the debates currently surrounding Kelly's work are a necessary and defining element of theoretical discourse about art today.
Malls, stadiums, and universities are actually liturgical structures that influence and shape our thoughts and affections. Humans--as Augustine noted--are "desiring agents," full of longings and passions; in brief, we are what we love. James K. A. Smith focuses on the themes of liturgy and desire in Desiring the Kingdom, the first book in what will be a three-volume set on the theology of culture. He redirects our yearnings to focus on the greatest good: God. Ultimately, Smith seeks to re-vision education through the process and practice of worship. Students of philosophy, theology, worldview, and culture will welcome Desiring the Kingdom, as will those involved in ministry and other interested readers.
We live in a world full of shiny distractions, faced with an onslaught of viral media constantly competing for our attention and demanding our affections. These ever-present visual “spectacles” can quickly erode our hearts, making it more difficult than ever to walk through life actively treasuring that which is most important and yet invisible: Jesus Christ. In a journalistic style, Tony Reinke shows us just how distracting these spectacles in our lives have become and calls us to ask critical questions about what we’re focusing on. The book offers us practical steps to redirect our gaze away from the addictive eye candy of the world and onto the Ultimate Spectacle—leading to the joy and rest our souls crave.
Through window displays, newspapers, soap operas, gay bars, and other public culture venues, Chinese citizens are negotiating what it means to be cosmopolitan citizens of the world, with appropriate needs, aspirations, and longings. Lisa Rofel argues that the creation of such “desiring subjects” is at the core of China’s contingent, piece-by-piece reconfiguration of its relationship to a post-socialist world. In a study at once ethnographic, historical, and theoretical, she contends that neoliberal subjectivities are created through the production of various desires—material, sexual, and affective—and that it is largely through their engagements with public culture that people in China are imagining and practicing appropriate desires for the post-Mao era. Drawing on her research over the past two decades among urban residents and rural migrants in Hangzhou and Beijing, Rofel analyzes the meanings that individuals attach to various public cultural phenomena and what their interpretations say about their understandings of post-socialist China and their roles within it. She locates the first broad-based public debate about post-Mao social changes in the passionate dialogues about the popular 1991 television soap opera Yearnings. She describes how the emergence of gay identities and practices in China reveals connections to a transnational network of lesbians and gay men at the same time that it brings urban/rural and class divisions to the fore. The 1999–2001 negotiations over China’s entry into the World Trade Organization; a controversial women’s museum; the ways that young single women portray their longings in relation to the privations they imagine their mothers experienced; adjudications of the limits of self-interest in court cases related to homoerotic desire, intellectual property, and consumer fraud—Rofel reveals all of these as sites where desiring subjects come into being.
The Desiring-Image yields new models of queer cinema produced since the late 1980s, based on close formal analysis of diverse films as well as innovative contributions to current film theory. The book defines "queer cinema" less as a specific genre or in terms of gay and lesbian identity, but more broadly as a kind of filmmaking that conveys sexual desire and orientation as potentially fluid within any individual's experience, and as forces that can therefore unite unlikely groups of people along new lines, socially, sexually, or politically. The films driving this analysis range from celebrated fixtures of the New Queer Cinema of the 1990s (including Cheryl Dunye's The Watermelon Woman and Todd Haynes's Velvet Goldmine) to sexually provocative films of the same era that are rarely classified as queer (David Cronenberg's Dead Ringers and Naked Lunch) to breakout films by 21st-century directors (Rodney Evans's Brother to Brother, John Cameron Mitchell's Shortbus). To frame these readings and to avoid heterosexist assumptions in other forms of film analysis, The Desiring-Image revisits the work of the philosopher Gilles Deleuze, whose two major works on cinema somehow never address the radical ideas about desire he expresses in other texts. This book brings those notions together in innovative ways, making them clear and accessible to newcomers and field specialists alike, with clear, illustrated examples drawn from a wide range of movies extending beyond the central case studies. Thus, The Desiring-Image speaks to readers interested in queer and gay/lesbian studies, in film theory, in feminist and sexuality scholarship, and in theory and philosophy, putting those discourses into rich, surprising conversations with popular cinema of the last 30 years.
Beginning in the late 1950s, representations of and narratives about sex proliferated on French and U.S. movie screens. Cinema began to display forms of sexuality that were no longer strictly associated with domesticity nor limited to heterosexual relations between loving couples. Women’s bodies and queer sexualities became intensely charged figures of political contestation, aspiration, and allegory, central to new ways of imagining sexuality and to new liberal understandings of individual freedom and social responsibility. In Making Sex Public Damon R. Young tracks the emergence of two conflicting narratives: on the one hand, a new model of sex as harmoniously integrated into civic existence; on the other, an idea of women’s and queer sexuality as corrosive to the very fabric of social life. Taking a transatlantic perspective from the late '50s through the present, from And God Created Woman and Barbarella to Cruising and Shortbus, Young argues that cinema participated in the transformation of the sexual subject while showing how women and queers were both agents and objects of that transformation.
There was a moment in the 1970s when sex was what mattered most to feminists. White middle-class women viewed sex as central to both their oppression and their liberation. Young women started to speak and write about the clitoris, orgasm, and masturbation, and publishers and the news media jumped at the opportunity to disseminate their views. In Desiring Revolution, Gerhard asks why issues of sex and female pleasure came to matter so much to these "second-wave feminists." In answering this question Gerhard reveals the diverse views of sexuality within feminism and shows how the radical ideas put forward by this generation of American women was a response to attempts to define and contain female sexuality going back to the beginning of the century. Gerhard begins by showing how the "marriage experts" of the first half of the twentieth century led people to believe that female sexuality was bound up in bearing children. Ideas about normal, white, female heterosexuality began to change, however, in the 1950s and 1960s with the widely reported, and somewhat shocking, studies of Kinsey and Masters and Johnson, whose research spoke frankly about female sexual anatomy, practices, and pleasures. Gerhard then focuses on the sexual revolution between 1968 and 1975. Examining the work of Betty Friedan, Germaine Greer, Erica Jong, and Kate Millet, among many others, she reveals how little the diverse representatives of this movement shared other than the desire that women gain control of their own sexual destinies. Finally, Gerhard examines the divisions that opened up between anti-pornography (or "anti-sex") feminists and anti-censorship (or "pro-sex") radicals. At once erudite and refreshingly accessible, Desiring Revolution provides the first full account of the unfolding of the feminist sexual revolution.
Misunderstandings about what it means for humans to be created in God's image have wreaked devastation throughout history -- for example, slavery in the U. S., genocide in Nazi Germany, and the demeaning of women everywhere. In Dignity and Destiny John Kilner explores what the Bible itself teaches about humanity being in God's image. He discusses in detail all of the biblical references to the image of God, interacts extensively with other work on the topic, and documents how misunderstandings of it have been so problematic. People made according to God's image, Kilner says, have a special connection with God and are intended to be a meaningful reflection of him. Because of sin, they don't actually reflect him very well, but Kilner shows why the popular idea that sin has damaged the image of God is mistaken. He also clarifies the biblical difference between being God's image (which Christ is) and being in God's image (which humans are). He explains how humanity's creation and renewal in God's image are central, respectively, to human dignity and destiny. Locating Christ at the center of what God's image means, Kilner charts a constructive way forward and reflects on the tremendously liberating impact that a sound understanding of the image of God can have in the world today.