Includes bibliographical references (pages 225-231) and index.
Contents:
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).
Summary:
"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"-- Provided by publisher.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.