Jodi Brooks
Biographic Data
| ID | 3649359 |
|---|---|
| NAME | Jodi Brooks |
| GIVEN NAMES | Jodi |
| FAMILY NAME | Brooks |
| SIGNATURE | BROOKS J |
| AFFILIATIONS | UNSW Sydney |
| ORCID | 0000-0001-8958-5364 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 8 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1992 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Teaching film studies in the age of streamed screenings and the commercial teaching archive
New modes of online and hybrid course delivery can pose significant challenges for teaching film studies. The shift from in-class screenings to online delivery of course films impacts what is available to screen—privileging work available in digital form—and how this material is accessed and engaged with. This article discusses some of the issues and opportunities that can arise from the move to online learning for film programs by reflecting on …
Doing Film Feminisms in the Age of Popular Feminism
In a move that has now been thoroughly documented, the Anglophone West of the past decade or so has become an environment in which feminism is popular. Film and television, and the discourses around them, have been central to this development, with productions from Eternals (Chloé Zhao, 2021) to Fleabag (2016-2019) to Barbie (Greta Gerwig, 2023) prompting an infoglut of commentary that foregrounds and debates the feminist credentials of a wave of…
“Bubbling” the Fourth Age in the Time of Covid-19
Prelude: 2020 in Words Each year the Australian National Dictionary Centre, based at the Australian National University (ANU), selects “a word or expression that has gained prominence in the Australian social landscape”. In 2020, “iso” took out first place, with “bubble” following close behind. On the Centre’s website, Senior Researcher Mark Gywnn explains that “iso” was selected not only for its flexibility, merrily combining with other words to…
Olive Kitteridge (Lisa Cholodenko, 2014), quality television and difficult women
Lisa Cholodenko’s 2014 series Olive Kitteridge remains something of an outlier in the recent wave of female-led quality TV drama. Its outlier status is not only because of its unlikely protagonist – a difficult and at times unlikeable older woman, nor is it simply a result of the confined temporal throw of its four episode structure. One of the key things that sets Olive Kitteridge apart from both other female-led series with “difficult women” pr…
The Kids Are All Right, the Pursuits of Happiness, and the Spaces Between
The Kids Are All Right (US, 2010) is Lisa Cholodenko's most commercial film to date and has been the most divisive in its reception. Pitched as a film of and for the times, the film has been celebrated for its portrayal of a lesbian family unit and taken to task for its homonormativity. In this article, the author argues that analyzing both the various kinds of crossovers that The Kids Are All Right engages at a thematic level and the form of cro…
Teaching bad objects
In the classroom ‘bad cinema’ is often determined as much by questions of pedagogical value as it is by cultural and/or aesthetic value. These three short papers explore some of the diverse ways in which teaching ‘bad’ film and television raises questions about the relations between cultural value and pedagogical value. Through reflections on particular teaching experiences, these papers contribute to a larger international conversation in anglop…
The state of the discipline
Over the last decade, forms of ‘bad cinema’ have increasingly been recognized as ‘legitimate’ areas of study in film studies. Exploitation cinemas and cult cinemas now regularly appear in undergrad
Worrying the note
Journal Article ‘Worrying the note’: mapping time in the gangsta film Get access Jodi Brooks Jodi Brooks Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 42, Issue 4, Winter 2001, Pages 363–381, https://doi.org/10.1093/screen/42.4.363 Published: 01 December 2001
Fascination and the grotesque
(1992). Fascination and the grotesque: Whatever happened to baby Jane?. Continuum: Vol. 5, Film — Matters of Style, pp. 225-234
Doing Film Feminisms in the Age of Popular Feminism
In a move that has now been thoroughly documented, the Anglophone West of the past decade or so has become an environment in which feminism is popular. Film and television, and the discourses around them, have been central to this development, with productions from Eternals (Chloé Zhao, 2021) to Fleabag (2016-2019) to Barbie (Greta Gerwig, 2023) prompting an infoglut of commentary that foregrounds and debates the feminist credentials of a wave of…
The Kids Are All Right, the Pursuits of Happiness, and the Spaces Between
The Kids Are All Right (US, 2010) is Lisa Cholodenko's most commercial film to date and has been the most divisive in its reception. Pitched as a film of and for the times, the film has been celebrated for its portrayal of a lesbian family unit and taken to task for its homonormativity. In this article, the author argues that analyzing both the various kinds of crossovers that The Kids Are All Right engages at a thematic level and the form of cro…
Olive Kitteridge (Lisa Cholodenko, 2014), quality television and difficult women
Lisa Cholodenko’s 2014 series Olive Kitteridge remains something of an outlier in the recent wave of female-led quality TV drama. Its outlier status is not only because of its unlikely protagonist – a difficult and at times unlikeable older woman, nor is it simply a result of the confined temporal throw of its four episode structure. One of the key things that sets Olive Kitteridge apart from both other female-led series with “difficult women” pr…
The state of the discipline
Over the last decade, forms of ‘bad cinema’ have increasingly been recognized as ‘legitimate’ areas of study in film studies. Exploitation cinemas and cult cinemas now regularly appear in undergrad
Fascination and the grotesque
(1992). Fascination and the grotesque: Whatever happened to baby Jane?. Continuum: Vol. 5, Film — Matters of Style, pp. 225-234
Worrying the note
Journal Article ‘Worrying the note’: mapping time in the gangsta film Get access Jodi Brooks Jodi Brooks Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 42, Issue 4, Winter 2001, Pages 363–381, https://doi.org/10.1093/screen/42.4.363 Published: 01 December 2001
Teaching bad objects
In the classroom ‘bad cinema’ is often determined as much by questions of pedagogical value as it is by cultural and/or aesthetic value. These three short papers explore some of the diverse ways in which teaching ‘bad’ film and television raises questions about the relations between cultural value and pedagogical value. Through reflections on particular teaching experiences, these papers contribute to a larger international conversation in anglop…
The state of the discipline
Over the last decade, forms of ‘bad cinema’ have increasingly been recognized as ‘legitimate’ areas of study in film studies. Exploitation cinemas and cult cinemas now regularly appear in undergrad
The Kids Are All Right, the Pursuits of Happiness, and the Spaces Between
The Kids Are All Right (US, 2010) is Lisa Cholodenko's most commercial film to date and has been the most divisive in its reception. Pitched as a film of and for the times, the film has been celebrated for its portrayal of a lesbian family unit and taken to task for its homonormativity. In this article, the author argues that analyzing both the various kinds of crossovers that The Kids Are All Right engages at a thematic level and the form of cro…
Olive Kitteridge (Lisa Cholodenko, 2014), quality television and difficult women
Lisa Cholodenko’s 2014 series Olive Kitteridge remains something of an outlier in the recent wave of female-led quality TV drama. Its outlier status is not only because of its unlikely protagonist – a difficult and at times unlikeable older woman, nor is it simply a result of the confined temporal throw of its four episode structure. One of the key things that sets Olive Kitteridge apart from both other female-led series with “difficult women” pr…
“Bubbling” the Fourth Age in the Time of Covid-19
Prelude: 2020 in Words Each year the Australian National Dictionary Centre, based at the Australian National University (ANU), selects “a word or expression that has gained prominence in the Australian social landscape”. In 2020, “iso” took out first place, with “bubble” following close behind. On the Centre’s website, Senior Researcher Mark Gywnn explains that “iso” was selected not only for its flexibility, merrily combining with other words to…
Doing Film Feminisms in the Age of Popular Feminism
In a move that has now been thoroughly documented, the Anglophone West of the past decade or so has become an environment in which feminism is popular. Film and television, and the discourses around them, have been central to this development, with productions from Eternals (Chloé Zhao, 2021) to Fleabag (2016-2019) to Barbie (Greta Gerwig, 2023) prompting an infoglut of commentary that foregrounds and debates the feminist credentials of a wave of…
Teaching film studies in the age of streamed screenings and the commercial teaching archive
New modes of online and hybrid course delivery can pose significant challenges for teaching film studies. The shift from in-class screenings to online delivery of course films impacts what is available to screen—privileging work available in digital form—and how this material is accessed and engaged with. This article discusses some of the issues and opportunities that can arise from the move to online learning for film programs by reflecting on …
Art (7 works) · Cinema and Media Studies (7 works) · Sociology (7 works) · Media studies (6 works) · Aesthetics (5 works) · Philosophy (4 works) · Philosophy (4 works) · Psychology (4 works) · Art history (3 works) · Computer Science (3 works)