Overwrought or over-the-top? I'm interested. Supervisors: Linda Williams, Mary Ann Doane, and James Q. Davies Address: Oakland, California, United States
Hollywood specializes in the humiliation of its female stars. But this “exposure” is paradoxicall... more Hollywood specializes in the humiliation of its female stars. But this “exposure” is paradoxically at the heart of the feminist aims of the #MeToo movement, too––women must confess moments of painful abuse in order to counter an oppressive patriarchal order. Systems of oppression are “conspiracies,” of sorts (which doesn't discount their validity: as the 1960s adage goes, “Just because you're paranoid, doesn't mean they're not out to get you”), and the Trump era is rife with conspiracy theories. But this “paranoid” view is not limited to either end of the political spectrum. Using the video work of former A-list Hollywood star, Sean Young (most famous as Rachael in the original Blade Runner [Dir. Ridley Scott, 1982]), which re-stages the moments of Young's greatest career humiliations, and Eve Sedgwick's ideas about “paranoid” and “reparative” reading strategies, this article considers the “reparative” potential of Young's work, and of humiliation in general.
This chapter defines the diva as a specific cultural type that has been shaped by long-held ideas... more This chapter defines the diva as a specific cultural type that has been shaped by long-held ideas about the female voice, but has moved beyond the narrow category of the female singer, and grown to encompass many non-singing women and characters who are understood as a “public success” but a “private failure.” Using the operatic history of the term “diva,” the chapter defines the type not by its reception in queer circles, but by its foundation in a “doubly feminine” relation of desire. Via close readings of the films Rapsodia Satanica (1917), Funny Girl (1968), and Queen Christina (1933), it explores the queer valences of female “narcissism,” and argues that a transhistorical “diva genre” of film is defined by a queer feminine “doubling,” which manifests in scenes featuring the spectacularized longing of the female lead.
Hollywood specializes in the humiliation of its female stars. But this “exposure” is paradoxicall... more Hollywood specializes in the humiliation of its female stars. But this “exposure” is paradoxically at the heart of the feminist aims of the #MeToo movement, too––women must confess moments of painful abuse in order to counter an oppressive patriarchal order. Systems of oppression are “conspiracies,” of sorts (which doesn't discount their validity: as the 1960s adage goes, “Just because you're paranoid, doesn't mean they're not out to get you”), and the Trump era is rife with conspiracy theories. But this “paranoid” view is not limited to either end of the political spectrum. Using the video work of former A-list Hollywood star, Sean Young (most famous as Rachael in the original Blade Runner [Dir. Ridley Scott, 1982]), which re-stages the moments of Young's greatest career humiliations, and Eve Sedgwick's ideas about “paranoid” and “reparative” reading strategies, this article considers the “reparative” potential of Young's work, and of humiliation in gene...
This chapter defines the diva as a specific cultural type that has been shaped by long-held ideas... more This chapter defines the diva as a specific cultural type that has been shaped by long-held ideas about the female voice, but has moved beyond the narrow category of the female singer, and grown to encompass many non-singing women and characters who are under stood as a "public success" but a "private failure." Using the operatic history of the term "diva," the chapter defines the type not by its reception in queer circles, but by its foun dation in a "doubly feminine" relation of desire. Via close readings of the films Rapsodia Satanica (1917), Funny Girl (1968), and Queen Christina (1933), it explores the queer va lences of female "narcissism," and argues that a transhistorical "diva genre" of film is de fined by a queer feminine "doubling," which manifests in scenes featuring the spectacularized longing of the female lead.
Hollywood specializes in the humiliation of its female stars. But this “exposure” is paradoxicall... more Hollywood specializes in the humiliation of its female stars. But this “exposure” is paradoxically at the heart of the feminist aims of the #MeToo movement, too––women must confess moments of painful abuse in order to counter an oppressive patriarchal order. Systems of oppression are “conspiracies,” of sorts (which doesn't discount their validity: as the 1960s adage goes, “Just because you're paranoid, doesn't mean they're not out to get you”), and the Trump era is rife with conspiracy theories. But this “paranoid” view is not limited to either end of the political spectrum. Using the video work of former A-list Hollywood star, Sean Young (most famous as Rachael in the original Blade Runner [Dir. Ridley Scott, 1982]), which re-stages the moments of Young's greatest career humiliations, and Eve Sedgwick's ideas about “paranoid” and “reparative” reading strategies, this article considers the “reparative” potential of Young's work, and of humiliation in general.
Hollywood specializes in the humiliation of its female stars. But this “exposure” is paradoxicall... more Hollywood specializes in the humiliation of its female stars. But this “exposure” is paradoxically at the heart of the feminist aims of the #MeToo movement, too––women must confess moments of painful abuse in order to counter an oppressive patriarchal order. Systems of oppression are “conspiracies,” of sorts (which doesn't discount their validity: as the 1960s adage goes, “Just because you're paranoid, doesn't mean they're not out to get you”), and the Trump era is rife with conspiracy theories. But this “paranoid” view is not limited to either end of the political spectrum. Using the video work of former A-list Hollywood star, Sean Young (most famous as Rachael in the original Blade Runner [Dir. Ridley Scott, 1982]), which re-stages the moments of Young's greatest career humiliations, and Eve Sedgwick's ideas about “paranoid” and “reparative” reading strategies, this article considers the “reparative” potential of Young's work, and of humiliation in general.
This chapter defines the diva as a specific cultural type that has been shaped by long-held ideas... more This chapter defines the diva as a specific cultural type that has been shaped by long-held ideas about the female voice, but has moved beyond the narrow category of the female singer, and grown to encompass many non-singing women and characters who are understood as a “public success” but a “private failure.” Using the operatic history of the term “diva,” the chapter defines the type not by its reception in queer circles, but by its foundation in a “doubly feminine” relation of desire. Via close readings of the films Rapsodia Satanica (1917), Funny Girl (1968), and Queen Christina (1933), it explores the queer valences of female “narcissism,” and argues that a transhistorical “diva genre” of film is defined by a queer feminine “doubling,” which manifests in scenes featuring the spectacularized longing of the female lead.
Hollywood specializes in the humiliation of its female stars. But this “exposure” is paradoxicall... more Hollywood specializes in the humiliation of its female stars. But this “exposure” is paradoxically at the heart of the feminist aims of the #MeToo movement, too––women must confess moments of painful abuse in order to counter an oppressive patriarchal order. Systems of oppression are “conspiracies,” of sorts (which doesn't discount their validity: as the 1960s adage goes, “Just because you're paranoid, doesn't mean they're not out to get you”), and the Trump era is rife with conspiracy theories. But this “paranoid” view is not limited to either end of the political spectrum. Using the video work of former A-list Hollywood star, Sean Young (most famous as Rachael in the original Blade Runner [Dir. Ridley Scott, 1982]), which re-stages the moments of Young's greatest career humiliations, and Eve Sedgwick's ideas about “paranoid” and “reparative” reading strategies, this article considers the “reparative” potential of Young's work, and of humiliation in gene...
This chapter defines the diva as a specific cultural type that has been shaped by long-held ideas... more This chapter defines the diva as a specific cultural type that has been shaped by long-held ideas about the female voice, but has moved beyond the narrow category of the female singer, and grown to encompass many non-singing women and characters who are under stood as a "public success" but a "private failure." Using the operatic history of the term "diva," the chapter defines the type not by its reception in queer circles, but by its foun dation in a "doubly feminine" relation of desire. Via close readings of the films Rapsodia Satanica (1917), Funny Girl (1968), and Queen Christina (1933), it explores the queer va lences of female "narcissism," and argues that a transhistorical "diva genre" of film is de fined by a queer feminine "doubling," which manifests in scenes featuring the spectacularized longing of the female lead.
Hollywood specializes in the humiliation of its female stars. But this “exposure” is paradoxicall... more Hollywood specializes in the humiliation of its female stars. But this “exposure” is paradoxically at the heart of the feminist aims of the #MeToo movement, too––women must confess moments of painful abuse in order to counter an oppressive patriarchal order. Systems of oppression are “conspiracies,” of sorts (which doesn't discount their validity: as the 1960s adage goes, “Just because you're paranoid, doesn't mean they're not out to get you”), and the Trump era is rife with conspiracy theories. But this “paranoid” view is not limited to either end of the political spectrum. Using the video work of former A-list Hollywood star, Sean Young (most famous as Rachael in the original Blade Runner [Dir. Ridley Scott, 1982]), which re-stages the moments of Young's greatest career humiliations, and Eve Sedgwick's ideas about “paranoid” and “reparative” reading strategies, this article considers the “reparative” potential of Young's work, and of humiliation in general.
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