Karl Schoonover
Biographic Data
| ID | 3766710 |
|---|---|
| NAME | Karl Schoonover |
| GIVEN NAMES | Karl |
| FAMILY NAME | Schoonover |
| SIGNATURE | SCHOONOVER K |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 0 |
Primed Real Estate
Karl Schoonover and Barbara Corsi discuss a shared history of film financing and real estate redevelopment that they discovered in the archives of Italian cinema production during the 1950s and 1960s. The dialogue between Schoonover and Corsi proposes a crucial reframing of Italy’s ‘economic miracle,’ and in doing so, exposes how the business of property inflected stardom, the depiction of landscape, tourist films, and cinema aesthetics
Practices and Contexts of the Italian Film Industry
This themed issue of the journal includes the results of some of the research that was conducted in the course of a large AHRC-sponsored research project on ‘Producers and Production Practices in t
The Cinema of Disposal
Max Ophuls’s Hollywood films from the late 1940s, including the noir feature The Reckless Moment, take disposability as a central problem. This essay argues that these films attribute an obdurate presence to objects, often foregrounding the dominance of clutter over the agency of characters. The films draw our attention as much to the gestures of stuff’s accumulation as they do to the frustrating impossibility of complete disposal. They depict th…
Hypotheses on the Queer Middlebrow
Middlebrow Cinema challenges an often uninterrogated hostility to middlebrow culture that frequently dismisses it as conservative, which it often is not, and feminized or middle-class, which it often is. The volume defines the term relationally against shifting concepts of ‘high’ and ‘low’, and considers its deployment in connection with text, audience and institution. In exploring the concept of the middlebrow, this book recovers films that were…
Queer Cinema in the World
'Proposing a radical vision of cinema's queer globalism, Karl Schoonover and Rosalind Galt explore how queer filmmaking intersects with international sexual cultures, geopolitics, and aesthetics to disrupt dominant modes of world making. Whether in its exploration of queer cinematic temporality, the paradox of the queer popular, or the deviant ecologies of the queer pastoral, Schoonover and Galt reimagine the scope of queer film studies. The auth…
Brutal Vision
Film history identifies Italian neorealism as the exemplar of national cinema, a specifically domestic response to wartime atrocities. This book challenges this orthodoxy by arguing that neorealist films—including such classics as Rome, Open City; Paisan; Shoeshine; and Bicycle Thieves—should be understood less as national products and more as complex agents of a postwar reorganization of global politics. For these films, cinema facilitates the l…
No prominent works on this page.
Brutal Vision
Film history identifies Italian neorealism as the exemplar of national cinema, a specifically domestic response to wartime atrocities. This book challenges this orthodoxy by arguing that neorealist films—including such classics as Rome, Open City; Paisan; Shoeshine; and Bicycle Thieves—should be understood less as national products and more as complex agents of a postwar reorganization of global politics. For these films, cinema facilitates the l…
Hypotheses on the Queer Middlebrow
Middlebrow Cinema challenges an often uninterrogated hostility to middlebrow culture that frequently dismisses it as conservative, which it often is not, and feminized or middle-class, which it often is. The volume defines the term relationally against shifting concepts of ‘high’ and ‘low’, and considers its deployment in connection with text, audience and institution. In exploring the concept of the middlebrow, this book recovers films that were…
Queer Cinema in the World
'Proposing a radical vision of cinema's queer globalism, Karl Schoonover and Rosalind Galt explore how queer filmmaking intersects with international sexual cultures, geopolitics, and aesthetics to disrupt dominant modes of world making. Whether in its exploration of queer cinematic temporality, the paradox of the queer popular, or the deviant ecologies of the queer pastoral, Schoonover and Galt reimagine the scope of queer film studies. The auth…
The Cinema of Disposal
Max Ophuls’s Hollywood films from the late 1940s, including the noir feature The Reckless Moment, take disposability as a central problem. This essay argues that these films attribute an obdurate presence to objects, often foregrounding the dominance of clutter over the agency of characters. The films draw our attention as much to the gestures of stuff’s accumulation as they do to the frustrating impossibility of complete disposal. They depict th…
Primed Real Estate
Karl Schoonover and Barbara Corsi discuss a shared history of film financing and real estate redevelopment that they discovered in the archives of Italian cinema production during the 1950s and 1960s. The dialogue between Schoonover and Corsi proposes a crucial reframing of Italy’s ‘economic miracle,’ and in doing so, exposes how the business of property inflected stardom, the depiction of landscape, tourist films, and cinema aesthetics
Practices and Contexts of the Italian Film Industry
This themed issue of the journal includes the results of some of the research that was conducted in the course of a large AHRC-sponsored research project on ‘Producers and Production Practices in t
Sociology (5 works) · Aesthetics (4 works) · Art (4 works) · Art history (4 works) · Movie theater (4 works) · Italian Fascism and Post-war Society (3 works) · Law (3 works) · Philosophy (3 works) · Political science (3 works) · Business (2 works)