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Pretty : film and the decorative image

Author: Rosalind Galt
Publisher: New York : Columbia University Press, ©2011.
Series: Film and culture.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
Film culture often rejects visually rich images, treating simplicity, austerity, or even ugliness as the more provocative, political, and truly cinematic choice. Cinema may challenge traditional ideas of art, but its opposition to the decorative represents a long-standing Western aesthetic bias against feminine cosmetics, Oriental effeminacy, and primitive ornament. Inheriting this patriarchal, colonial perspective  Read more...
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Document Type: Book
All Authors / Contributors: Rosalind Galt
ISBN: 9780231153461 0231153465 9780231153478 0231153473 9780231526951 0231526954
OCLC Number: 678923958
Description: xi, 390 pages : illustrations ; 23 cm.
Contents: Introduction : the pretty as troublesome image --
From aesthetics to film aesthetics : or, beauty and truth redux --
Colors : Derek Jarman and queer aesthetics --
Ornament and modernity : from decorative art to cultural criticism --
Objects : oriental style and the arabesques of Moulin Rouge! --
At the crossroads : iconoclasm and the anti-aesthetic in postwar film and theory --
Forms : Soy Cuba and revolutionary beauty --
Perverse prettiness : sexuality, gender, and aesthetic exclusion --
Bodies : the sumptuous charms of Ulrike Ottinger --
Postscript : toward a worldly image.
Series Title: Film and culture.
Responsibility: Rosalind Galt.

Abstract:

Film culture often rejects visually rich images, treating simplicity, austerity, or even ugliness as the more provocative, political, and truly cinematic choice. Cinema may challenge traditional ideas of art, but its opposition to the decorative represents a long-standing Western aesthetic bias against feminine cosmetics, Oriental effeminacy, and primitive ornament. Inheriting this patriarchal, colonial perspective - which treats decorative style as foreign or sexually perverse - filmmakers, critics, and theorists have often denigrated colorful, picturesque, and richly patterned visions in cinema. Condemning the exclusion of the "pretty" from masculine film culture, Rosalind Galt reevaluates received ideas about the decorative impulse from early film criticism to classical and postclassical film theory. The pretty embodies lush visuality, dense mise-en-scene, painterly framing, and arabesque camera movements-styles increasingly central to world cinema. From European art cinema to the films of Wong Kar-wai and Santosh Sivan, from the experimental films of Derek Jarman to the popular pleasures of Moulin Rouge!, the pretty is a vital element of contemporary cinema, communicating distinct sexual and political identities. Inverting the logic of anti-pretty thought, Galt firmly establishes the decorative image as a queer aesthetic, uniquely able to figure cinema's perverse pleasures and cross-cultural encounters. Creating her own critical tapestry from perspectives in art theory, film theory, and philosophy, Galt reclaims prettiness as a radically transgressive style, shimmering with threads of political agency. -- Book Description.

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Remarkably wide-ranging and engagingly intricate. Rosalind Galt's argument is bold, its mode of argumentation sure and convincing. This very original take on culturally received and culturally Read more...

 
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