Overview

Kathryn Bigelow has undoubtedly been one of Hollywood's most significant female players, well known in popular terms for films such as Point Break and Blue Steel, yet relatively unexplored in academia. Soundbites about women and guns and speculation about the role of ex-husband James Cameron (Aliens, Titanic) in her career have often helped obscure rather than elucidate an understanding of her work. This collection explores how Bigelow can be seen to provide a point of intersection to a whole range of issues at the forefront of contemporary film studies and of the transformation of Hollywood into a post-classical cinema machine, with a particular emphasis on her most ambitious and controversial picture, Strange Days. Her place within new Hollywood is as a filmmaker that blurs genre conventions, reinscribes gender identites, and produces a breathless cinema of attractions.

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9781903364420

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Reviews

[In] this first in-depth study of Bigelow's directorial career, Jermyn and Redmond establish a biographical context and the various critical perspectives informing the essays: feminism, queer theory, cultural studies, authorship, and psychology... All essays corroborate the near impossibility of compartmentalizing Bigelow's work, which simultaneously challenges and uses cinematic conventions, and Bigelow herself. Essential. -- Choice

A testament to both the breadth of the director's work and to the editor's achievement in filling such a gaping void in film studies.--Jim Hemphill Film Quarterly

<p>A testament to both the breadth of the director's work and to the editor's achievement in filling such a gaping void in film studies.--Jim Hemphill Film Quarterly

Author Information

Sean Redmond is Lecturer in Film Studies at the Southampton Institute, UK, and a contributor to Contemporary North American Film Directors (Wallflower Press, 2002) and the editor of Liquid Metal: The Science Fiction Film Reader (Wallflower Press, 2004) Deborah Jermyn is Lecturer in Film Studies at the University of Surrey, Roehampton, UK, and a contributor to Contemporary North American Film Directors (Wallflower Press, 2002) and Screen Methods: Comparative Readings in Film Studies (Wallflower Press, 2005).

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