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On the Politics of Ugliness
Ugliness or unsightliness is much more than a quality or property of an individual’s appearance—it has long functioned as a social category that demarcates access to social, cultural, and political spaces and capital. The editors of and authors in this collection harness intersectional and interdisciplinary approaches in order to examine ugliness as a political category that is deployed to uphold established notions of worth and entitlement. On the Politics of Ugliness identifies and challenges the harmful effects that labels and feelings of ugliness have on individuals and the socio-political order. It explores ugliness in relation to the intersectional processes of racialization, colonization and settler colonialism, gender-making, ableism, heteronormativity, and fatphobia. On the Politics of Ugliness asks that we fight against visual injustice and imagine new ways of seeing.
Justice on Demand
Explores the proliferation of true crime audiovisual texts across multiple media platforms. Justice on Demand: True Crime in the Digital Streaming Eraoffers a theoretical rumination on the question asked in countless blogs and opinion pieces of the last decade: Why are we so obsessed with true crime? Author Tanya Horeck takes this question further: Why is true crime thought to be such a good vehicle for the new modes of viewer/listener engagement favored by online streaming and consumption in the twenty-first century? Examining a range of audiovisual true crime texts, from podcasts such as Serialand My Favorite Murderto long-form crime documentaries such as The Jinxand Making a Murderer,Hore...
Digital Uncanny
We are now confronted with a new type of uncanny experience, an uncanny evoked by parallel processing, aggregate data, and cloud-computing. The digital uncanny does not erase the uncanny feeling we experience as d j vu or when confronted with robots that are too lifelike. Today's uncanny refers to how non-human devices (surveillance technologies, algorithms, feedback, and data flows) anticipate human gestures, emotions, actions, and interactions, thus intimating that we are but machines and that our behavior is predicable precisely because we are machinic. It adds another dimension to those feelings in which we question whether our responses are subjective or automated - automated as in redu...
Canadian Cinema in the New Millennium
At the turn of the millennium Canadian cinema appeared to have reached an apex of aesthetic and commercial transformation. Domestic filmmaking has since declined in visibility: the sense of celebrity once associated with independent directors has diminished, projects garner less critical attention, and concepts that made late-twentieth-century Canadian film legible have been reconsidered or displaced. Canadian Cinema in the New Millennium examines this dramatic transformation and revitalizes our engagement with Canadian cinema in the contemporary moment, presenting focused case studies of films and filmmakers and contextual studies of Canadian film policy, labour, and film festivals. Contrib...
Community, Myth and Recognition in Twentieth-Century French Literature and Thought
Monograph analyzing the relationship between literature, thought and community in mid-20th century France.
Feel-Bad Film
An analysis of what contemporary directors seek to attain by putting their spectators in a position of strong discomfort
Twenty-First-Century Symbolism
Twenty-First-Century Symbolism was the winner of the 2023 R. Gapper Book Prize. How do the writings of Verlaine, Baudelaire, and Mallarmé speak to our time? Why should we continue to read these poets today? How might a contemporary reading of their poetry differ from readings delivered in previous centuries? Twenty-First-Century Symbolism argues that Verlaine, Baudelaire, and Mallarmé prefigure a view of human subjectivity that is appropriate for our times: we cannot be separated from the worlds in which we live and evolve; human beings both mediate and are mediations of the environments we traverse and that traverse us, whether these are natural, urban, linguistic, or technological environments. The ambition of the book is therefore twofold: on the one hand, it aims to offer new readings of the three poets, demonstrating their continued relevance for contemporary debates, putting them into dialogue with a philosophical corpus that has not yet played a role in the study of nineteenth century French poetry; on the other, the book relies on the three poets to establish an understanding of human subjectivity that is in tune with our twenty-first century concerns.
Movies with Stanley Cavell in Mind
In Movies with Stanley Cavell in Mind, some of the scholars who have become essential for our understanding of Stanley Cavell's writing on film gather to use his landmark contributions to help us read new films-from Hollywood and elsewhere-that exist beyond his immediate reach and reading. In extending the scope of Cavell's film philosophy, we naturally find ourselves contending with it and amending it, as the case may be. Through a series of interpretive vignettes, the group effort situates, for the expert and novitiate alike, how Cavell's writing on film can profitably enrich one's experience of cinema generally and also inform how we might continue the practice of serious philosophical criticism of specific films mindful of his sensibility. The resulting conversations between texts, traditions, disciplines, genres, and generations creates propitious conditions for discovering what it means to watch and listen to movies with Stanley Cavell in mind.
Women in Impressionism
This title presents a thorough analysis of how the concepts of 'woman' and 'femininity' unfold inside the broader spectrum of Impressionist painting by male as well as female artists.
Blanchot's Epoch
As a writer of fiction, a literary critic, thinker and political commentator, Maurice Blanchot fulfilled some of his century's most pressing challenges. In the centenary year of his birth, this volume considers these questions from a variety of approaches, and addresses the significance of Blanchot's writing for the times to come.
