Senin, 24 September 2018

Ebook Lana and Lilly Wachowski (Contemporary Film Directors)

Ebook Lana and Lilly Wachowski (Contemporary Film Directors)

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Lana and Lilly Wachowski (Contemporary Film Directors)

Lana and Lilly Wachowski (Contemporary Film Directors)


Lana and Lilly Wachowski (Contemporary Film Directors)


Ebook Lana and Lilly Wachowski (Contemporary Film Directors)

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Lana and Lilly Wachowski (Contemporary Film Directors)

Review

"This captivating book does more than argue persuasively for the centrality of the Wachowskis oeuvre in the recent history of cinema: it demonstrates how their embodied transgender experience is a central component of their aesthetic vision, and how transgender experience has become paradigmatic of visual semiotic practices in the increasingly ubiquitous digital media environment. Keegan offers lucid close readings of the entire Wachowski filmography, while also mapping generative points of overlap and intersection between cinema studies and trans studies. It makes a significant contribution to both fields."--Susan Stryker, founding coeditor, Transgender Studies Quarterly"This book is a revelation! Leaving behind the more pedestrian methods of examining cinematic narratives of transgender lives, Cael Keegan goes one huge step beyond. With this book on Lana and Lilly Wachowski, we have in our hands the first book to consider the transgender content of the Wachowskis' massively influential cinematic practice. The trans* cinema of the Wachowskis is, according to Keegan, not just disruptive and wildly imaginative, although it is definitely that, it also represents an expansion of the popular imagination and a very different sense of life in and beyond the matrix. Keegan gives a masterful account of the Wachowskis' world and drops his readers down the rabbit hole of a trans* altered reality. Bon voyage."--Jack Halberstam, author of Gaga Feminism: Sex, Gender, and the End of Normal  

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About the Author

Cáel M. Keegan is an assistant professor of women, gender, and sexuality studies and liberal studies at Grand Valley State University.

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Product details

Series: Contemporary Film Directors

Paperback: 196 pages

Publisher: University of Illinois Press (November 15, 2018)

Language: English

ISBN-10: 0252083830

ISBN-13: 978-0252083839

Product Dimensions:

5.5 x 0.5 x 8.2 inches

Shipping Weight: 8 ounces (View shipping rates and policies)

Average Customer Review:

4.6 out of 5 stars

3 customer reviews

Amazon Best Sellers Rank:

#744,250 in Books (See Top 100 in Books)

In Lana and Lilly Wachowski, Cael Keegan reassesses the complete film oeuvre in light of their coming out as trans. Like any view through a very specific lens there are a couple of weak connections but overall the arguments Keegan puts forth are very compelling.The films are approached chronologically, though connections are made forward and back, and this works very well. If you're familiar with the many academic interpretations of the films, particularly from Bound through the Matrix trilogy to V for Vendetta, you will be very pleased with the added levels Keegan adds. There is no attempt to make previous theoretical understandings less valid but rather to demonstrate the Wachowskis' overall work can be better understood through a trans* aesthetic.Reading this reminded me of the new book Foucault at the Movies and the discussion there about the difference between finding where philosophical thought is illustrated in a film and in the possibility of film to be the message itself. Keegan makes a strong case that the Wachowskis aren't so much using philosophical thought and ideas in their films (though they certainly are) but rather creating philosophical texts in and of themselves. It isn't hard to see certain thinkers in the films, much like you can see Foucault in Judith Butler's work, but the films make their own fully contained arguments much as Butler's books make their own arguments. My use had always been to read into the films, such as Baudrillard in specific parts (or all of Speed Racer) rather than reading the films themselves as philosophical texts.I found the discussion of the later movies particularly interesting. Many complaints centered on the action and effects overshadowing any narrative. This was also leveled against The Matrix as well. Keegan argues very eloquently that the action and the effects ARE the story as much as any other elements of the films. How the effects are used, the feelings they elicit, aren't just for entertainment or the thrills, they have meanings within the overarching narrative.This is an academic book for the most part but is quite accessible for most readers. If you are familiar with various ideas within trans studies the reading is even more accessible, but Keegan makes his meaning clear even when he uses jargon from the field of study. This is not a biography and does not get into much that isn't directly applicable to a critical assessment of the films. For that reason this might not appeal to some readers who are looking for more of a biography or a behind the scenes tell all type book. But if you have enjoyed any or all of their films, or even had mixed feelings, this book will offer new and interesting ways to "see" these movies. the interview with Lana is also a wonderful glimpse into her thinking and, what I found interesting, her sincere interest in hearing what others think.Reviewed from a copy made available by the publisher via NetGalley.

Lana and Lilly Wachowski by Cael M. Keegan is a free NetGalley ebook that I read in mid-November.Being as I don’t practice the act of deadnaming, I’ll say that these women have always been film producers and directors. Crikey, they're extremely thoughtful and philosophically meaningful people, Keegan included, who speaks of the transmorphic act of gender matching, filmmaking, and the act of viewing film; the misreading, confining aspects of Bound (particularly poignant, since I’d recently watched its re-release on Blu-ray); the complex, dissenting, emblematic, perceptional nature of The Matrix (Matrixes? Matrix’? Matriseux?); similar dissenting qualities of V for Vendetta, yet drawing from a militarized, propaganda palette; presents Speed Racer, Cloud Atlas, and Jupiter Ascending as a trilogy (well, okay, if you think so): lots of vehicle action, I suppose, digging and affirmation towards one’s identity, though Keegan insists on futurist themes, reaching through time and space (yes, that’s true), racial blurring/abstraction in Cloud Atlas and Speed Racer (kinda forgot about that); and, ahh, yes, Sense8, and the idea of social media mushing us all erotically together with an overall fluidity of gender and identity.

Keegan’s book makes you want to see all of the Wachowskis’ films again, especially if you’ve watched “The Matrix” dozens of times and think it has nothing new to reveal to you. Its first 25 pages will have you ready to hit the streets, demanding the recognition that “Bound” rightly deserves as an oracle of queer cinema. It recontextualizes perhaps the most impactful filmmakers of our times and persuasively argues how their trans* aesthetic creates the space available for us to imagine our own liberation. Recommended as a must-read for film lovers or anyone interested in politics or cultural studies.

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