LEADER 03651oam 2200577I 450 001 9910465931803321 005 20220221120706.0 010 $a9780231542975 010 $a0-231-54297-6 035 $a(CKB)3710000000919831 035 $a(MiAaPQ)EBC4723088 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(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 608 $aElectronic books. 615 0$aFood in motion pictures. 615 0$aMotion pictures$xHistory. 615 0$aFood$xSocial aspects 676 $a791.436564 700 $aLindenfeld$b Laura$01031199 702 $aParasecoli$b Fabio 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 912 $a9910465931803321 996 $aFeasting Our Eyes$92448455 997 $aUNINA LEADER 01482nam 2200325 n 450 001 996393105403316 005 20200824121638.0 035 $a(CKB)4940000000112828 035 $a(EEBO)2240951174 035 $a(UnM)99872996e 035 $a(UnM)99872996 035 $a(EXLCZ)994940000000112828 100 $a19850426d1645 uy | 101 0 $aeng 135 $aurbn||||a|bb| 200 14$aThe grand impostor unmasked, or, A detection of the notorious hypocrisie, and desperate impiety of the late Archbishop (so styled) of Canterbury$b[electronic resource] $ecunningly couched in that written copy, which he read on the scaffold at his execution, (Ian. 10. 1644.) alia?s, called by the publisher, his funerall sermon. By Henry Burton. Published according to order 210 $aLondon $cPrinted for Giles Calvert at the Black-spread Eagle at the west end of Pauls$d[1645] 215 $a[4], 20 p 300 $aA reply to: Laud, William. The Archbishop of Canterbury's speech: or his funerall sermon. 300 $aReproduction of the original in the British Library. 330 $aeebo-0018 700 $aBurton$b Henry$f1578-1648.$01002692 801 0$bCu-RivES 801 1$bCu-RivES 801 2$bCStRLIN 801 2$bWaOLN 906 $aBOOK 912 $a996393105403316 996 $aThe grand impostor unmasked, or, A detection of the notorious hypocrisie, and desperate impiety of the late Archbishop (so styled) of Canterbury$92350712 997 $aUNISA