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03925aam a2200409 i 4500 001 C9DF5C3668DD11EA9C5A9E4D97128E48 003 SILO 005 20200318010024 008 190610t20202020nyu b 001 0 eng 010 $a 2019021169 020 $a 0190865865 020 $a 9780190865863 020 $a 0190865857 020 $a 9780190865856 035 $a (OCoLC)1104219398 040 $a DLC $b eng $e rda $c DLC $d OCLCO $d OCLCF $d YDX $d BDX $d YDX $d UKMGB $d SILO 042 $a pcc 050 00 $a PN1995.9.T6855 $b S55 2020 082 00 $a 791.43/6553 $2 23 100 1 $a Shimizu, Celine ParrenÌas, $e author. 245 14 $a The proximity of other skins : $b ethical intimacy in global cinema / $c Celine ParrenÌas Shimizu. 264 1 $a New York, NY : $b Oxford University Press, $c [2020] 300 $a xii, 247 pages : $b illustrations ; $c 25 cm 520 $a "Transnational films representing intimacy and inequality disrupt and disgust Western spectators. When wounded bodies within poverty entangle with healthy wealthy bodies in sex, romance and care, fear and hatred combine with desire and fetishism. Works from the Philippines, South Korea, and independents from the U.S. and France may not be made for the West and may not make use of Hollywood traditions. Rather, they demand recognition for the knowledge they produce beyond our existing frames. They challenge us to go beyond passive consumption, or introspection of ourselves as spectators, for they represent new ways of world-making we cannot unsee, unhear or unfeel. The spectator is redirected to go beyond the rapture of consuming the other to the rupture that arises from witnessing pain and suffering. Self-displacement is what proximity to intimate inequality in cinema ultimately compels and demands so as to establish an ethical way of relating to others. In undoing the spectator, the voice of the transnational filmmaker emerges. Not only do we need to listen to filmmakers from outside Hollywood who unflinchingly engage the inexpressibility of difference, we need to make room for critics and theorists who prioritize the subjectivities of others. When the demographics of filmmakers and film scholars are not as diverse as its spectators, films narrow our world views. To recognize our culpability in the denigration of others unleashes the power of cinema. The unbearability of stories we don't want to watch and don't want to feel must be born. Film, Sex, Race, Transnationalism, Ethics"-- $c Provided by publisher. 504 $a Includes bibliographical references (pages 225-231) and index. 505 0 $a Introduction: Subject/ Abject Relations in Those Long Haired Nights (2017) and Call Her Ganda (2018) -- (Rich) White Women, (Poor) Brown Men, and Sexual Settings: Political and Libidinal Economies in Heading South (2005) and Never Forever (2007) -- The Compassion of Shared Spectatorship: Annihilation and Affliction in Brillante Mendoza's Tirador (2007), Serbis (2007) and Ma' Rosa (2016) -- Intimate Eruptions and the Embodied Montage: Performing Roles and Breaking Rules between Masters and Servants in The Housemaid (2011) and Handmaiden (2016) -- The Ethics of Representing Oneself and Others: Ramona Diaz's Imelda (2005) and David Byrne's Here Lies Love (2010-17) -- Epilogue: Memory and Death (2013-Present). 648 7 $a 2000-2099 $2 fast 650 0 $a Motion pictures and transnationalism. 650 0 $a Motion pictures and globalization. 650 0 $a Motion pictures $y 21st century $x History and criticism. 650 7 $a Motion pictures. $2 fast $0 (OCoLC)fst01027285 650 7 $a Motion pictures and globalization. $2 fast $0 (OCoLC)fst01736340 650 7 $a Motion pictures and transnationalism. $2 fast $0 (OCoLC)fst01747307 655 7 $a Criticism, interpretation, etc. $2 fast $0 (OCoLC)fst01411635 941 $a 1 952 $l OVUX522 $d 20220317020454.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=C9DF5C3668DD11EA9C5A9E4D97128E48Initiate Another SILO Locator Search