![]() ![]() This sensitive and insightful work is immersed in both the ethics of the film and the filmmaker, as well as the depressive affect that the film ineluctably conjures. ~ So Mayer, author of Political Animals: The New Feminist Cinema Brilliantly reading Loden as a collective – all, alone – of experienced writer, visionary director, skilled performer, and radical thinker, Backman Rogers engages in a feminist, anti-capitalist act of paying attention, reconceiving the close reading as a political act whose ethical intimacies see all these facets of Loden working together in and through Wanda, challenging us as readers, viewers, critics and subjects, all alone yet connected by the film, to commit to the same. Refusing Berlant’s “cruel optimism,” and specifically the platitudes of redemption, resolution and recuperation, Barbara Loden’s film Wanda – and Backman Rogers’s incandescent reading alongside it – feel into the all in Wanda’s and Loden’s separate but enmeshed alone/s, their completeness and complexity as a form of classed refusal, one that is at once anti-American and anti-auteurist. ~Adrian Martin, author of Last Day Every Day: Figural Thinking from Auerbach and Kracauer to Agamben and Brenez This is a profoundly significant event in global film culture. By addressing the aesthetics and politics of Wanda, Backman Rogers helps set the record straight on the remarkable cultural contribution of Barbara Loden. This book takes a film of extraordinary and unique significance and gives it the lengthy, detailed attention it deserves. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |