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Reel to real : = race, sex, and clas...

Hooks, Bell.

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Reel to real : = race, sex, and class at the movies /

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Reel to real :/ Bell Hooks.
Reminder of title:	race, sex, and class at the movies /
Author:	Hooks, Bell.
Published:	New York, NY :Routledge, : 1996.,
Description:	244 p. ;24 cm.
Notes:	Includes index.
[NT 15003449]:	Introduction: Making movie magic. -- Good girls look the other way. -- Transgression and transformation: Leaving Las Vegas. -- Exotica: breaking down to break through. -- Crooklyn: the denial of death. -- Cool cynicism: Pulp fiction. -- Mock feminism: Waiting to exhale. -- Kids: transgressive subjects - reactionary film. -- Artistic integrity: race and accountability. -- Neo-colonial fantasies of conquest: Hoop dreams. -- Doing it for daddy: black masculinity in the mainstream. -- Thinking through class: paying attention to The attendant. -- Back to the avant-garde: the progressive vision. -- What's passion got to do with it?: an interview with Marie-France Alderman. -- The cultural mix: an interview with Wayne Wang. -- Confession - filming family: an interview with Camille Billops. -- A guiding light: an interview with Charles Burnett. -- Critical contestations: a conversation with A.J. (Arthur Jaffa) -- The oppositional gaze: black female spectators. -- Is Paris burning? -- "Whose pussy is this?": a feminist comment.
Subject:	Motion pictures - Political aspects - United States. -
Online resource:	http://www.loc.gov/catdir/enhancements/fy0651/96026474-d.htmlhttp://www.loc.gov/catdir/enhancements/fy0651/96026474-d.html
ISBN:	0415918235

Reel to real : = race, sex, and class at the movies /
Hooks, Bell.

Reel to real :race, sex, and class at the movies /Bell Hooks. - New York, NY :Routledge,1996. - 244 p. ;24 cm.

Includes index.

Introduction: Making movie magic. -- Good girls look the other way. -- Transgression and transformation: Leaving Las Vegas. -- Exotica: breaking down to break through. -- Crooklyn: the denial of death. -- Cool cynicism: Pulp fiction. -- Mock feminism: Waiting to exhale. -- Kids: transgressive subjects - reactionary film. -- Artistic integrity: race and accountability. -- Neo-colonial fantasies of conquest: Hoop dreams. -- Doing it for daddy: black masculinity in the mainstream. -- Thinking through class: paying attention to The attendant. -- Back to the avant-garde: the progressive vision. -- What's passion got to do with it?: an interview with Marie-France Alderman. -- The cultural mix: an interview with Wayne Wang. -- Confession - filming family: an interview with Camille Billops. -- A guiding light: an interview with Charles Burnett. -- Critical contestations: a conversation with A.J. (Arthur Jaffa) -- The oppositional gaze: black female spectators. -- Is Paris burning? -- "Whose pussy is this?": a feminist comment.

ISBN: 0415918235

LCCN: 96026474

Nat. Bib. No.: GB97-14136Subjects--Topical Terms:

530904
Motion pictures
--Political aspects--United States.

LC Class. No.: PN1995.9.S6 / H66 1996

Dewey Class. No.: 302.23/43

Reel to real : = race, sex, and class at the movies /
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300 $a 244 p. ; $c 24 cm.
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505 0 $a Introduction: Making movie magic. -- Good girls look the other way. -- Transgression and transformation: Leaving Las Vegas. -- Exotica: breaking down to break through. -- Crooklyn: the denial of death. -- Cool cynicism: Pulp fiction. -- Mock feminism: Waiting to exhale. -- Kids: transgressive subjects - reactionary film. -- Artistic integrity: race and accountability. -- Neo-colonial fantasies of conquest: Hoop dreams. -- Doing it for daddy: black masculinity in the mainstream. -- Thinking through class: paying attention to The attendant. -- Back to the avant-garde: the progressive vision. -- What's passion got to do with it?: an interview with Marie-France Alderman. -- The cultural mix: an interview with Wayne Wang. -- Confession - filming family: an interview with Camille Billops. -- A guiding light: an interview with Charles Burnett. -- Critical contestations: a conversation with A.J. (Arthur Jaffa) -- The oppositional gaze: black female spectators. -- Is Paris burning? -- "Whose pussy is this?": a feminist comment.
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