000			02838nam a22002417i 4500
001			IT\ICCU\UBO\4667403
003			ItRI
005			20260115232006.0
008			221205s2021 xxu|||||| ||||| |||||c
020			_a9780814348581 (pbk)
020			_a9780814348598 (hbk)
040			_bita _cimportazione bologna sebina
041		7	_aeng _2ISO-639-2
100	1		_aKeller, Sarah, _d (1983-) _0IT\ICCU\UBOV\351070
240	1	0	_aBarbara Hammer _3IT\ICCU\UBO\4667406
245	1	0	_aBarbara Hammer : _bpushing out of the frame / _cSarah Keller.
260			_aDetroit : _bWayne State University Press, _c2021
300			_aviii, 225 p. : _bill. ; _c23 cm
502			_aIntroduction: Experimentation in the first films ; Ambition and legacy ; The chapters -- 1970s: Barbara Hammer, queer pioneer. The early years ; I was/I am (1973) ; Lesbian bodies, queer experimental pioneer ; Radical form for radical content -- 1980s: Vocation and expansion. Travel and place: Our trip (1980), Pools (1981), and Bent time (1984) ; Intimacy and Sync touch (1981) -- The arrival of Optic nerve (1985) ; Technological experiments and No no nooky T.V. (1987) ; Still point (1989) ; Janus-facing the 1980s -- 1990s: Rewriting herstory. Not bare bones/Between things ; Nitrate kisses (1992) ; Out in South Africa (1994) ; Rewriting history: Tender fictions (1995) and The female closet (1998) -- 2000-2019: Legacy. History lessons (2000) and Resisting Paradise (2003) ; A horse is not a metaphor: or is it? ; Maya Deren's sink (2011) and Welcome to this house (2015): traces of film, people, and places ; Evidentiary bodies x 4 ; Conclusion? Further issues of legacy -- A few last words: Hammer on Hammer.
520			_a"Barbara Hammer tends to be best known for her work from the 1970s. In those years, she radically represents female subjects and subjectivity in a series of films that are both part of and ahead of their time. Films like Dyketactics (1974), Menses (1974), Superdyke (1975), and Multiple Orgasm (1976) explore lesbian sexuality, feminist identity, and social activism. Hammer recorded non-actors (including herself) in frank acts of lesbian sex; showed parts of the female experience (and anatomy) usually elided in filmic depictions of women; staged rituals portraying women in various attitudes of empowerment; and subsequently provided models for feminist action and power. Granting exposure to a decidedly feminist and lesbian sensibility starting with these early films, Hammer has frequently and rightly been seen as a pioneer of queer cinema. If her productivity had been limited to the 1970s, her importance to queer film and art histories would still be assured, though perhaps skewed a bit toward frameworks of identity for understanding her artistic commitments"
830		0	_aQueer screens _0IT\ICCU\UBO\4667405
942			_2ddc _cBK _n0
999			_c15742 _d15742