LEADER 03672oam 2200589I 450 001 9910798891203321 005 20220221120706.0 010 $a0-231-54297-6 024 7 $a10.7312/lind17250 035 $a(CKB)3710000000919831 035 $a(StDuBDS)EDZ0001666809 035 $a(DE-B1597)478166 035 $a(OCoLC)979621014 035 $a(DE-B1597)9780231542975 035 $a(Au-PeEL)EBL4723088 035 $a(CaPaEBR)ebr11289275 035 $a(CaONFJC)MIL972030 035 $a(OCoLC)961454389 035 $a(MiAaPQ)EBC4723088 035 $a(EXLCZ)993710000000919831 100 $a20161109h20172017 uy 0 101 0 $aeng 135 $aurcnu|||uuuuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aFeasting Our Eyes $eFood Films and Cultural Identity in the United States /$fLaura Lindenfeld and Fabio Parasecoli 210 1$aLa Vergne, New York :$cColumbia University Press,$d2017. 210 4$dİ2017 215 $a1 online resource (278 pages) $cillustrations, photographs 311 1 $a0-231-17250-8 311 1 $a0-231-17251-6 320 $aIncludes bibliographical references and index. 327 $aIntroduction -- 1. Food Films and Consumption: Selling Big Night -- 2. Autonomy in the Kitchen? Food Films and Post feminism -- 3. Magical Food, Luscious Bodies -- 4. Culinary Comfort: Th e Satiating Construction of Masculinity -- 5. When Weirdos Stir the Pot: Cooking Identity in Animated Movies -- 6. Consuming the Other: Food Films as Culinary Tourism -- Conclusion -- Notes -- Bibliography -- Index 330 $aBig Night (1996), Ratatouille (2007), and Julie and Julia (2009) are more than films about food-they serve a political purpose. In the kitchen, around the table, and in the dining room, these films use cooking and eating to explore such themes as ideological pluralism, ethnic and racial acceptance, gender equality, and class flexibility-but not as progressively as you might think. Feasting Our Eyes takes a second look at these and other modern American food films to emphasize their conventional approaches to nation, gender, race, sexuality, and social status. Devoured visually and emotionally, these films are particularly effective defenders of the status quo.Feasting Our Eyes looks at Hollywood films and independent cinema, documentaries and docufictions, from the 1990s to today and frankly assesses their commitment to racial diversity, tolerance, and liberal political ideas. Laura Lindenfeld and Fabio Parasecoli find women and people of color continue to be treated as objects of consumption even in these modern works and, despite their progressive veneer, American food films often mask a conservative politics that makes commercial success more likely. A major force in mainstream entertainment, American food films shape our sense of who belongs, who has a voice, and who has opportunities in American society. They facilitate the virtual consumption of traditional notions of identity and citizenship, reworking and reinforcing ingrained ideas of power. 606 $aFood in motion pictures 606 $aMotion pictures$zUnited States$xHistory 606 $aFood$xSocial aspects$zUnited States 615 0$aFood in motion pictures. 615 0$aMotion pictures$xHistory. 615 0$aFood$xSocial aspects 676 $a791.436564 686 $aAP 50300$2rvk 700 $aLindenfeld$b Laura$01503777 702 $aParasecoli$b Fabio 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910798891203321 996 $aFeasting Our Eyes$93732383 997 $aUNINA