Since it first appeared in Screen in 1975, Laura Mulvey’s essay "Visual Pleasure and Narrative Cinema" has been an enduring point of reference for artists, filmmakers, writers and theorists. Mulvey’s compelling polemical analysis of visual pleasure has provoked and encouraged others to take positions, challenge preconceived ideas and produce new works that owe their possibility to the generative qualities of this key essay. In this book, the celebrated New York-based video artist Rachel Rose (born 1986) has produced an innovative work that extends and adds to the essay’s frame of reference. Drawing on 18th- and 19th-century fairy tales, and observing how their flat narratives matched the flatness of their depictions, Rose created collages that connect these pre-cinematic illustrations to what Mulvey describes in her essay—cinema flattening sexuality into visuality.
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FORMAT: Pbk, 5 x 8 in. / 64 pgs / 31 color. LIST PRICE: U.S. $14.95 LIST PRICE: CANADA $21 ISBN: 9783863359652 PUBLISHER: Koenig Books AVAILABLE: 9/27/2016 DISTRIBUTION: D.A.P. RETAILER DISC: FLAT40 PUBLISHING STATUS: Out of stock indefinitely AVAILABILITY: Not available TERRITORY: NA LA ASIA AU/NZ AFR
Rachel Rose: Laura Mulvey Visual Pleasure and Narrative Cinema: 1975
Published by Koenig Books. Edited by Mark Lewis.
Since it first appeared in Screen in 1975, Laura Mulvey’s essay "Visual Pleasure and Narrative Cinema" has been an enduring point of reference for artists, filmmakers, writers and theorists. Mulvey’s compelling polemical analysis of visual pleasure has provoked and encouraged others to take positions, challenge preconceived ideas and produce new works that owe their possibility to the generative qualities of this key essay.
In this book, the celebrated New York-based video artist Rachel Rose (born 1986) has produced an innovative work that extends and adds to the essay’s frame of reference. Drawing on 18th- and 19th-century fairy tales, and observing how their flat narratives matched the flatness of their depictions, Rose created collages that connect these pre-cinematic illustrations to what Mulvey describes in her essay—cinema flattening sexuality into visuality.
