Nick's Flick Picks: The Blog
A film blog under the influence
Labels: 1990s, Adaptations, Emma Thompson, Favorites, Vanessa Redgrave
posted by NicksFlickPicks at 3:00 AM
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MY PROFILE THE LATEST THE BEST THE FAVORITES THE WOMEN THE REST |
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The Desiring-Image: Gilles Deleuze and Contemporary Queer Cinema ($30/pbk). By Nick Davis. Oxford University Press, 2013.
The book that earned me tenure at Northwestern. Offers a new theoretical model of queer film, born from Gilles Deleuze's rarely-integrated notions of cinema and desire. Chapter-length readings of
Dead Ringers,
Naked Lunch, Shortbus, The Watermelon Woman, Brother to Brother, Beau travail, and
Velvet Goldmine, plus other films along the way! Written for a scholarly audience but hopefully interesting to anyone curious about recent cinema, ideas about desire, or LGBT aesthetics and politics. "Important and needed work...Deeply original." —D.N. Rodowick, "Seductive in its intellect and humbling in its prose." —Michele Aaron
Reading the Bromance: Homosocial Relationships in Film and Television ($32/pbk). Ed. Michael DeAngelis. Wayne State University Press, 2014.
Academic pieces that dig into recent portraits in popular media, comic and dramatic, of intimacies between straight(ish) men. Includes the essay
"'I Love You, Hombre': Y tu mamá también as Border-Crossing Bromance" by Nick Davis, as well as chapters on Superbad, Humpday, Jackass, The Wire, and other texts. Written for a mixed audience of scholars, students, and non-campus readers. Forthcoming in June 2014. "Remarkably sophisticated essays." —Janet Staiger, "Essential reading for anyone interested in contemporary models of gender and sexuality." —Harry Benshoff
Fifty Key American Films ($31/pbk). Ed. Sabine Haenni, John White. Routledge, 2009. Includes my essays on
The Wild Party,
The Incredibles, and
Brokeback Mountain. Intended as both a newcomer's guide to the terrain
and a series of short, exploratory essays about such influential works as The Birth of a Nation, His Girl Friday, Sweet Sweetback's Baadasssss Song,
Taxi Driver, Blade Runner, Daughters of the Dust, and Se7en.
The Cinema of Todd Haynes: All That Heaven
Allows ($25/pbk). Ed. James Morrison. Wallflower Press, via Columbia University Press, 2007. Includes the essay
"'The Invention of a People': Velvet Goldmine and the Unburying of Queer Desire" by Nick Davis, later expanded and revised in The Desiring-Image.
More, too, on Poison, Safe, Far From Heaven, and Haynes's other films by Alexandra Juhasz, Marcia Landy,
Todd McGowan, James Morrison, Anat Pick, and other scholars. "A collection as intellectually and emotionally
generous as Haynes' films" —Patricia White, Swarthmore College
Film Studies:
The Basics ($23/pbk). By Amy Villarejo. Routledge, 2006, 2013. Award-winning
film scholar and teacher Amy Villarejo finally gives us the quick, smart, reader-friendly guide to film vocabulary that every
teacher, student, and movie enthusiast has been waiting for, as well as a one-stop primer in the past, present, and future of film production, exhibition,
circulation, and theory. Great glossary, wide-ranging examples, and utterly unpretentious prose that remains rigorous in its analysis;
the book commits itself at every turn to the artistry, politics, and accessibility of cinema.
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Chicagoans! This site doesn't even accept advertising, but I'm making an unsolicited exception for the best, freshest, most affordable meal you can enjoy in the Loop, at any time of the day, whether you're on the go or eager to sit. Cuban and Latin American sandwiches, coffees, pastries, salads, shakes, and other treats. Hand-picked, natural, and slow-cooked ingredients. My friendly neighborhood place, a jewel in my life even before the Reader and Time Out figured it out. Visit!
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Watch this space! Chicago has a new, exciting, important, and totally accessible cadre of queer film critics who are joining forces to bring screenings, special events, and good, queer-focused movie chats to our fair city. Read our mission! Stay tuned for events! Cruise the website, and help get this great new group off the ground by enrolling as a friend (it's free!) and by asking how you can help.
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since 5.27.05 |
5 Comments:
Yay! I'm a massive fan of the Merchant-Ivory films, and will watch even their most terminable trash, including Cotton Mary, but I think this is one of the few of their productions were everything comes together perfectly.
And which also helps for me, the movie features a trifecta of great actressing; Emma Thompson, Vanessa Redgrave, Helena Bonham-Carter. What more could you ask for?
I feel bad because I love reading your list but I have nothing of note to add because either (1) it's been so long and I don't remember anything besides a general opinion (as is the case for Howards End) or (2) I haven't seen many of your picks. As a plus, it means more wonderful movies to sink my teeth into, but it also means that I can't offer anything more than a "Fantastic job!"
I only love two out of three of your beloved Solarises, and find the third borderline unwatchable, so that's possibly why I was staying mum. But I have no problem with Howards End. Any thoughts on why this particular Forster novel excited the team's imagination so much more memorably than any of their other adaptations? The heritage nostalgia built into the story? I can see that argument.
Oh, I do love "Solaris" in any incarnation -- I'm just a bit terrified of it.
"Howards End" is very dear to me... when I was nine, it was my favourite film of all time. I haven't seen it for an awful long while, but Leonard's walk through the bluebells remains one of my most vivid cinematic memories.
I'm a huge fan of HOWARD'S END. total masterpiece i think and I so wanted it to win the Oscar in its year. But i haven't seen it in a really long time either.
and i agree wholeheartedly with the depressing and frankly lazy school of thought that allows people to dismiss movies by referring to them as "Merchant/Ivory". There are many weak imitations true, but Merchant/Ivory were the masters --do Tarantino movies get slammed for all the hipper-than-thou shit that they spawned? Does Scorsese get slammed when anyone makes a bad mob movie?
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