Killing It Back'Stage
But I love it almost as much when she cracks herself up:
Labels: Awards 2009, Best Supporting Actress, Oscars
A film blog under the influence
Labels: Awards 2009, Best Supporting Actress, Oscars
posted by NicksFlickPicks at 12:00 AM
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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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6 Comments:
I did think that her "performance, not the politics" statement in her speech came out a little too self-admiring, as if implying that in a merit-based vote, she was the only feasible winner. Which is true, Mo'Nique, but REALLY.
Self-admiration seems to be part of the package with Mo'Nique, absolutely. I apparently feel drawn to actors who, what did Sean say last year?, don't always make it easy. But I felt just as much that she was saying that there's no way she would have won if the voting had been based on politics, which feels even more true to me than the assertion that she's the only imaginable winner in a quality contest (in which case, frankly, I don't think Farmiga is so tremendously far behind).
Wow, she's intense.
I just watched this twice in a row. I love that no question fazes her, she has an answer like THAT!
i love her more all the time. What is with that Precious crew exactly. They're so damn loveable... even when they're prickly.
and Nick, I absolutely agree with you that both parts of that performance/politics statement are true but the politics more so.
Luckily (for her) -- though i'm sure she'd never acknowledge luck as part of the equation -- she had the performance to back it up... in a year when nobody else had the performance as intense WITH the politics also. you know?
i admire her for giving the finger to "playing the game" but performance instead of politics only wins in very specific circumstances.
they sure as hell aren't consistent about that.
What's interesting to me here, beyond the satisfaction of her win, is that it seems like she's clearly marking out (now that she's been vindicated, post-voting) that the political angle she could have taken was of her being part of Hattie McDaniel's legacy. And really, though, her understandable admiration of McDaniel notwithstanding, does she want to stress that a key factor in her win was that she was a large black woman showcasing a "large black woman" role, which surely helped McDaniel (and Jennifer Hudson) win their supporting Oscars? Rather baffling to me.
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