東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Warhol's transgender superstars: A m...

Stavitzke, Kenneth G.

Linked to FindBook

Google Book

Amazon

博客來

Warhol's transgender superstars: A materialist examination of the body in cinematic text.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Warhol's transgender superstars: A materialist examination of the body in cinematic text./
Author:	Stavitzke, Kenneth G.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
Description:	145 p.
Notes:	Source: Masters Abstracts International, Volume: 56-03.
Contained By:	Masters Abstracts International56-03(E).
Subject:	Gender studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10248654
ISBN:	9781369643077

Warhol's transgender superstars: A materialist examination of the body in cinematic text.
Stavitzke, Kenneth G.

Warhol's transgender superstars: A materialist examination of the body in cinematic text. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 145 p.

Source: Masters Abstracts International, Volume: 56-03.

Thesis (M.A.)--Purdue University, 2016.

Beginning in 1968, Andy Warhol and budding filmmaker Paul Morrissey collaborate with an unusual array of superstars to create three visionary and controversial films that showcase the transgender body as one point of resistance against the hegemonic powers of capitalism. Flesh, Trash, and Women in Revolt are three films-as-texts that introduce, iconize, and commercialize the transgender body through metatheatre, biomythography, and the advent of absurdist cinema. Featuring three transgender superstars (Candy Darling, Jackie Curtis, and Holly Woodlawn), these three texts---upon close examination---reveal how consumerism materially constructs all bodies in oppression through an essential, painful, and binary tension of consumer and commodity. Using pseudo-pornography, psychodrama, and camp style, Warhol-Morrissey celebrates the body as a narrative metalepsis, and the result is an oppressive hyperreality that reckons the body as simultaneous product and process within consumerism. As this oppression further unites all bodies through the death of subjectivity, Warhol-Morrissey employs two salient, unifying motifs within travesty across these three films, and these motifs are maternal bodies and genderless babies. Through these two interrelated motifs, Warhol-Morrissey exploits transgender bodies to deconstruct gender essentialism and challenge reproductive futurism. Despite commercialization, Warhol-Morrissey's triad of transgender films situates sociopolitical activism in the present tense through queer opposition to address urgent inequalities and the painful suffering of bodies within a contemporary world. Within such immediacy, bodies unite forthwith and directly, and future generations do not necessarily inherit the prejudices, disparities, and pain that demand crucial and pressing action today.

ISBN: 9781369643077Subjects--Topical Terms:

2122708
Gender studies.

Warhol's transgender superstars: A materialist examination of the body in cinematic text.
LDR:02762nmm a2200313 4500 001 2127372
005 20171220071114.5
008 180830s2016 ||||||||||||||||| ||eng d
020 $a 9781369643077
035 $a (MiAaPQ)AAI10248654
035 $a AAI10248654
040 $a MiAaPQ $c MiAaPQ
100 1 $a Stavitzke, Kenneth G. $3 3289506
245 1 0 $a Warhol's transgender superstars: A materialist examination of the body in cinematic text.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2016
300 $a 145 p.
500 $a Source: Masters Abstracts International, Volume: 56-03.
500 $a Adviser: Colette M. Morrow.
502 $a Thesis (M.A.)--Purdue University, 2016.
520 $a Beginning in 1968, Andy Warhol and budding filmmaker Paul Morrissey collaborate with an unusual array of superstars to create three visionary and controversial films that showcase the transgender body as one point of resistance against the hegemonic powers of capitalism. Flesh, Trash, and Women in Revolt are three films-as-texts that introduce, iconize, and commercialize the transgender body through metatheatre, biomythography, and the advent of absurdist cinema. Featuring three transgender superstars (Candy Darling, Jackie Curtis, and Holly Woodlawn), these three texts---upon close examination---reveal how consumerism materially constructs all bodies in oppression through an essential, painful, and binary tension of consumer and commodity. Using pseudo-pornography, psychodrama, and camp style, Warhol-Morrissey celebrates the body as a narrative metalepsis, and the result is an oppressive hyperreality that reckons the body as simultaneous product and process within consumerism. As this oppression further unites all bodies through the death of subjectivity, Warhol-Morrissey employs two salient, unifying motifs within travesty across these three films, and these motifs are maternal bodies and genderless babies. Through these two interrelated motifs, Warhol-Morrissey exploits transgender bodies to deconstruct gender essentialism and challenge reproductive futurism. Despite commercialization, Warhol-Morrissey's triad of transgender films situates sociopolitical activism in the present tense through queer opposition to address urgent inequalities and the painful suffering of bodies within a contemporary world. Within such immediacy, bodies unite forthwith and directly, and future generations do not necessarily inherit the prejudices, disparities, and pain that demand crucial and pressing action today.
590 $a School code: 0183.
650 4 $a Gender studies. $3 2122708
650 4 $a LGBTQ studies. $3 2122706
650 4 $a Philosophy. $3 516511
650 4 $a Film studies. $3 2122736
690 $a 0733
690 $a 0492
690 $a 0422
690 $a 0900
710 2 $a Purdue University. $b English. $3 1026432
773 0 $t Masters Abstracts International $g 56-03(E).
790 $a 0183
791 $a M.A.
792 $a 2016
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10248654