Alicia Kozma
Biographic Data
| ID | 6364273 |
|---|---|
| NAME | Alicia Kozma |
| GIVEN NAMES | Alicia |
| FAMILY NAME | Kozma |
| SIGNATURE | KOZMA A |
| AFFILIATIONS | Indiana University |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 0 |
Gendered Labour in the Neo-Art House
This article excavates and analyzes women’s labor in the neo-art house industry. Focusing on the labor histories gleaned from interviews, I offer a reconceptualization of the art house industry post-digital exhibition transition; detail an initial schema of the challenges facing women-identified laborers in the industry, including gendered divisions of labor and financial precarity; and consider internal advocacy efforts some neo-art house worker…
Mapping the monstrous
New French extreme cinema combines existentialism with shock, hyper violence, and transgressions of women’s bodies. I contend such imagery is best understood as a representation of violence that enables enlightenment in and through the representation of women’s monstrosity and abjection. I examine this phenomenon through four films from New French Extremism’s inaugural cycle. El Nuevo Extremismo Francés combina el existencialismo con el shock, la…
Women Make Horror
Shame, Class, and Embodiment in the Catfish Universe
This article examines the film Catfish and the corresponding television program Catfish: The TV Show to articulate how genres of the real create entertainment paradigms built on shame and derision as acceptable modes of programming particularly focused on bodies. Understanding these texts as visual culture narratives grounded in shame produced through “failed” classed, fat, and gendered bodies, I argue that when genres of the real focus on shame …
Stephanie Rothman Does Not Exist
This article examines Stephanie Rothman and her career as a second-wave exploitation film director between 1966 and 1974. Marginally represented in film histories and archives, Rothman made seven films during her short career and flourished in the primarily masculinized world of second-wave exploitation filmmaking. Despite her success, she remains largely obscure to academic and popular film communities. Grounding the discussion in a series of in…
Mobilized Identities
Pinky Violence
This article examines Pinky Violence films, exploitation movies from 1960s and 1970s Japan, focusing specifically on radical portrayals of gender and sex. Utilizing the subversive space of exploitation cinema, Pinky Violence films provide alternative constructions of gender and female sexuality through the character of the sukeban: the girl gang boss. An evaluation of both the cultural and the historical factors that led to the development of Pin…
No prominent works on this page.
Pinky Violence
This article examines Pinky Violence films, exploitation movies from 1960s and 1970s Japan, focusing specifically on radical portrayals of gender and sex. Utilizing the subversive space of exploitation cinema, Pinky Violence films provide alternative constructions of gender and female sexuality through the character of the sukeban: the girl gang boss. An evaluation of both the cultural and the historical factors that led to the development of Pin…
Mobilized Identities
Shame, Class, and Embodiment in the Catfish Universe
This article examines the film Catfish and the corresponding television program Catfish: The TV Show to articulate how genres of the real create entertainment paradigms built on shame and derision as acceptable modes of programming particularly focused on bodies. Understanding these texts as visual culture narratives grounded in shame produced through “failed” classed, fat, and gendered bodies, I argue that when genres of the real focus on shame …
Stephanie Rothman Does Not Exist
This article examines Stephanie Rothman and her career as a second-wave exploitation film director between 1966 and 1974. Marginally represented in film histories and archives, Rothman made seven films during her short career and flourished in the primarily masculinized world of second-wave exploitation filmmaking. Despite her success, she remains largely obscure to academic and popular film communities. Grounding the discussion in a series of in…
Women Make Horror
Gendered Labour in the Neo-Art House
This article excavates and analyzes women’s labor in the neo-art house industry. Focusing on the labor histories gleaned from interviews, I offer a reconceptualization of the art house industry post-digital exhibition transition; detail an initial schema of the challenges facing women-identified laborers in the industry, including gendered divisions of labor and financial precarity; and consider internal advocacy efforts some neo-art house worker…
Mapping the monstrous
New French extreme cinema combines existentialism with shock, hyper violence, and transgressions of women’s bodies. I contend such imagery is best understood as a representation of violence that enables enlightenment in and through the representation of women’s monstrosity and abjection. I examine this phenomenon through four films from New French Extremism’s inaugural cycle. El Nuevo Extremismo Francés combina el existencialismo con el shock, la…
Art (6 works) · Political science (5 works) · Sociology (5 works) · Gender Studies (4 works) · Cinema and Media Studies (3 works) · Law (3 works) · Movie theater (3 works) · Visual arts (3 works) · Aesthetics (2 works) · Art history (2 works)