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James Boaden

), p. 78. 13 P. Adams Sitney, Visionary Film: The American Avant-Garde (New York: Oxford University Press, 2002), p. 76. 14 J. Broughton, Coming Unbuttoned (San Francisco: City Lights, 1993), p. 101. 15 Ibid., p. 102. 16 State University of New York, Poetry Collection, Robert Duncan Papers, 17 August 1951, James Broughton to Jess. 17 Poetry Collection, State University of New York, Robert Duncan Papers, 6 August 1951, James Broughton to Robert Duncan and Jess. 18 L. Anderson, ‘A Possible Solution’, Sequence, 3 (Spring 1948); ‘British Cinema: The Descending

in After 1851
Jane Chin Davidson

appeal, exoticism without miscegenation; instead, tender melodies are played on the piano in a homely setting. Hai-Tang’s lover is her brotherly friend, he watches her dancing, alluringly undresses, but apart from that – nothing happens between them. This is truly English.’83 Chan argues that in British cinema, the colonialist logic for an ‘empire full of yellow, brown, and black people’ was based on the ‘exalted notion of its own [white] racial superiority’ – if whites cohabitated with the colonized, the relations of power would shift and ‘a consensual romantic

in Staging art and Chineseness
Jane Roscoe
Craig Hight

of auteurs (Kubrick, Welles, Altman) who have been to varying degrees isolated from the mainstream of American and British cinema. Their challenge to the range of representational styles typically used within Hollywood realist narrative has generally operated from the margins of the film industry (with the exceptions of Dr Strangelove and Altman’s M.A.S.H and The Player , these films have not achieved widespread

in Faking it
Identity, difference, representation
Nizan Shaked

: Black Film/British Cinema, ed. Kobena Mercer (London: Institute of Contemporary Arts, 1989) and Hall, “Introduction: Who Needs ‘Identity’?” in Questions of Cultural Identity, eds. Stuart Hall and Paul Du Gay (London: Sage, 1996), 1–17. 41 Hall, “New Ethnicities,” 27. 42 Golden, “What’s White …?” 35. 43 Frances M. Moran, Subject and Agency in Psychoanalysis: Which is to be Master? (New York: New York University Press, 1993), 4. 44 Moran, Subject and Agency in Psychoanalysis, 4, 62. 45 Fred Wilson had actually arrived at his practice by working in museums

in The synthetic proposition
Abstract only
Writing queer feminist transnational South Asian art histories
Alpesh Kantilal Patel

.com/index.php?option=com_content&task=view&id=1155. 115 This construction is perhaps best embodied in early to mid-twentieth century Hollywood and British cinema actor Sabu, originally from Mysore, India, whose penultimate role at the age of 38 was, tellingly, as a native ‘boy’ sidekick opposite Robert Mitchum in the 1963 jungle adventure film Rampage. See Gayatri Gopinath’s brilliant discussion of Iain Rashid’s film Surviving Sabu in her Impossible Desires: Queer Diasporas and South Asian Public Cultures (Durham, NC: Duke University Press, 2005), 65–77. 116 Emphasis mine. Andreas Huyssen, Present Pasts

in Productive failure