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Picnic at Hanging Rock, Paperback by Rogers, Anna Backman, Like New Used, Fre...
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Specificaties
- Objectstaat
- ISBN
- 9781839023354
- Book Title
- Picnic at Hanging Rock
- Book Series
- Bfi Film Classics Ser.
- Publisher
- Bloomsbury Publishing
- Item Length
- 7.4 in
- Publication Year
- 2022
- Format
- Trade Paperback
- Language
- English
- Illustrator
- Yes
- Item Height
- 0.4 in
- Genre
- Performing Arts
- Topic
- Film / History & Criticism
- Item Weight
- 5.8 Oz
- Item Width
- 5.3 in
- Number of Pages
- 104 Pages
Over dit product
Product Identifiers
Publisher
Bloomsbury Publishing
ISBN-10
183902335X
ISBN-13
9781839023354
eBay Product ID (ePID)
7057285873
Product Key Features
Book Title
Picnic at Hanging Rock
Number of Pages
104 Pages
Language
English
Publication Year
2022
Topic
Film / History & Criticism
Illustrator
Yes
Genre
Performing Arts
Book Series
Bfi Film Classics Ser.
Format
Trade Paperback
Dimensions
Item Height
0.4 in
Item Weight
5.8 Oz
Item Length
7.4 in
Item Width
5.3 in
Additional Product Features
Intended Audience
Trade
Reviews
"The BFI Film Classics are a perfect way to explore a film such as this, and Rogers' monograph is another essential entry in the series." - Adrian Smith , Cinema Retro "Such an attentive, impassioned awareness of the politics which underscore the figuration of the girl on screen not only offers up a provocative re-reading of a classic film, but it also speaks directly to its gestures of love, of kinship and pleasure which operate outside, and in spite of, patriarchal culture. This is a beautiful book of relevance to any and all interested in the expanding vistas of female subjectivity in film and those real and metaphorical 'rocks' which might lodge, vociferously, between such positions of imagination, selfhood and desire." --Davina Quinlivan, Kingston University, UK "A beautifully constructed analysis of a complex and haunting film. Backman Rogers skillfully dissects the patriarchal working environment of Patricia Lovell's project to realize a faithful rendering of Joan Lindsay's perplexing novel while also offering a subtle reading of the film via its distinctive cinematography. A tour de force of feminist film analysis, intellectual clarity and cinephilia." --Griselda Pollock, University of Leeds, UK "This is a ravishing book. Anna Backman Rogers passionately honours the enchantment of Picnic at Hanging Rock , its veiled images, the love between Miranda and Sarah, its languor, 'the slow bleed from morning into afternoon'. Yet she also, in coruscating prose, shows quite brilliantly how the film decries the horror of empire and the 'violence wrought on the female body', then and now. I urge you to read this book, to enter its dream." --Emma Wilson, University of Cambridge, UK "The BFI Film Classics are a perfect way to explore a film such as this, and Rogers' monograph is another essential entry in the series." - Adrian Smith , Cinema Retro, Such an attentive, impassioned awareness of the politics which underscore the figuration of the girl on screen not only offers up a provocative re-reading of a classic film, but it also speaks directly to its gestures of love, of kinship and pleasure which operate outside, and in spite of, patriarchal culture. This is a beautiful book of relevance to any and all interested in the expanding vistas of female subjectivity in film and those real and metaphorical 'rocks' which might lodge, vociferously, between such positions of imagination, selfhood and desire., "Such an attentive, impassioned awareness of the politics which underscore the figuration of the girl on screen not only offers up a provocative re-reading of a classic film, but it also speaks directly to its gestures of love, of kinship and pleasure which operate outside, and in spite of, patriarchal culture. This is a beautiful book of relevance to any and all interested in the expanding vistas of female subjectivity in film and those real and metaphorical 'rocks' which might lodge, vociferously, between such positions of imagination, selfhood and desire." -- Davina Quinlivan, Kingston University, UK, "Such an attentive, impassioned awareness of the politics which underscore the figuration of the girl on screen not only offers up a provocative re-reading of a classic film, but it also speaks directly to its gestures of love, of kinship and pleasure which operate outside, and in spite of, patriarchal culture. This is a beautiful book of relevance to any and all interested in the expanding vistas of female subjectivity in film and those real and metaphorical 'rocks' which might lodge, vociferously, between such positions of imagination, selfhood and desire." -- Davina Quinlivan, Kingston University, UK "A beautifully constructed analysis of a complex and haunting film. Backman Rogers skillfully dissects the patriarchal working environment of Patricia Lovell's project to realize a faithful rendering of Joan Lindsay's perplexing novel while also offering a subtle reading of the film via its distinctive cinematography. A tour de force of feminist film analysis, intellectual clarity and cinephilia." -- Griselda Pollock, University of Leeds, UK, "Such an attentive, impassioned awareness of the politics which underscore the figuration of the girl on screen not only offers up a provocative re-reading of a classic film, but it also speaks directly to its gestures of love, of kinship and pleasure which operate outside, and in spite of, patriarchal culture. This is a beautiful book of relevance to any and all interested in the expanding vistas of female subjectivity in film and those real and metaphorical 'rocks' which might lodge, vociferously, between such positions of imagination, selfhood and desire." --Davina Quinlivan, Kingston University, UK "A beautifully constructed analysis of a complex and haunting film. Backman Rogers skillfully dissects the patriarchal working environment of Patricia Lovell's project to realize a faithful rendering of Joan Lindsay's perplexing novel while also offering a subtle reading of the film via its distinctive cinematography. A tour de force of feminist film analysis, intellectual clarity and cinephilia." --Griselda Pollock, University of Leeds, UK "This is a ravishing book. Anna Backman Rogers passionately honours the enchantment of Picnic at Hanging Rock , its veiled images, the love between Miranda and Sarah, its languor, 'the slow bleed from morning into afternoon'. Yet she also, in coruscating prose, shows quite brilliantly how the film decries the horror of empire and the 'violence wrought on the female body', then and now. I urge you to read this book, to enter its dream." --Emma Wilson, University of Cambridge, UK
Dewey Edition
23
Dewey Decimal
791.4372
Table Of Content
Acknowledgments 1 Within a Dream: Origins, Production and Filming 2 Waiting a Million Years Just for Us: Artistic Influences and Uncanny Spaces 3 Quite Intact: The Male Imaginary and Courtly Love Conclusion: Girls on the Verge; Femininity and Hysteria Notes Credits
Synopsis
A study Peter Weir's Picnic at Hanging Rock (1975) in the BFI Film Classics series, considering the film's production history and its reception through a feminist and decolonial lens., Peter Weir's haunting and allusive Picnic at Hanging Rock (1975), set in 1900, tells the story of the mysterious disappearance of three schoolgirls and their teacher on a trip to a local geological formation. The film is widely hailed as a classic of new Australian cinema, seen as exemplary of a peculiarly Australian style of heritage filmmaking. Anna Backman Rogers' study considers Picnic from feminist, psychoanalytic and decolonialising perspectives, exploring its setting in a colonised Australian bushland in which the Aboriginal people are a spectral presence in a landscape stolen from them in pursuit of the white man's 'terra nullius'. She delves into the film's production history, addressing director Weir's influences and preoccupations at the time of its making, its reception and its lasting impact on visual culture more broadly. Rogers addresses the film's treatment of the young schoolgirls and their teachers, seemingly, as embodiments of an archetype of the 'eternal feminine', as objects of the male gaze, and in terms of ideas about female hysteria as a protest against gender norms. She argues that Picnic is, in fact, highly subversive: a film that requires its viewers to read its seductive surfaces against the grain of the image in order to uncover its psychological depths.
LC Classification Number
PN1997
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