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The beginning of this century has brought with it a host of assumptions about the newness of our technologies, globalized economies, and transnational media practices. Our own time is a period marked by experiences of fragmentation, sensation, and shock. The essays here are joined by a common concern to chart another side to modernity—precisely after the shock of the new—when the new ceases to be shocking, and when the extraordinary and the sensational become linked to the boring and the everyday. Patrice Petro explores how the mechanisms of modernism, German cinema, and feminist film theory have evolved, and she discusses the directions in which they are headed.
Petro’s essays—some published here for the first time—raise such questions as: What roles do television and other media play in film studies? What is the place of feminist film theory in our conceptions of film history? How is German film theory situated within international film theory?
Rather than continue to sensationalize sensation, Aftershocks of the New aims to lower the volume of debates over the place of cinema within the culture of modernity. And it accomplishes this by locating them within a more complex matrix of contending sensibilities, voices, and impulses.
|List of Illustrations|
|Introduction: Aftershocks of the New||1|
|Ch. 1||The "Place" of Television in Film Studies||13|
|Ch. 2||Feminism and Film History||31|
|Ch. 3||German Film Theory and Anglo-American Film Studies||46|
|Ch. 4||After Shock, between Boredom and History||57|
|Ch. 5||Historical Ennui, Feminist Boredom||82|
|Ch. 6||World-Weariness, Weimar Women, and Visual Culture||95|
|Ch. 7||Nazi Cinema at the Intersection of the Classical and the Popular||124|
|Ch. 8||The Hottentot and the Blonde Venus||136|
|Ch. 9||Film Feminism and Nostalgia for the Seventies||157|