"cinéma génétique." . . "Science fiction films History and criticism." . . "ART / Film & Video" . . "Génie génétique." . . "Gentechnologie." . . "Mass media and culture." . . "Culture." . . "Ingeniería genética en el cine." . . "Aspect social." . . "Películas de ciencia ficción Aspectos sociales." . . "Films de science-fiction Aspect social." . . "Science fiction Film Motiv Genetik." . . "Genetik Motiv Film." . . . . "génétique science-fiction (cinéma)" . . "Film Motiv Genetik." . . "Gentechnologie (Motiv)" . . "Thème cinématographique." . . "THEORY" . . "Médias et culture." . . "PERFORMING ARTS / Film & Video / Reference" . . "Génie génétique au cinéma." . . "Génie génétique Au cinéma." . "SCIENCE-FICTION FILMS" . . "Klonierung (Motiv)" . . "Genetik Motiv Science fiction Film." . . "Filmästhetik." . . . . "The cinematic life of the gene"@en . "The cinematic life of the gene" . . . . . . . . . . . . . . . . . . . . . . . . . . "Criticism, interpretation, etc"@en . "Criticism, interpretation, etc" . . . . "Electronic books" . "Electronic books"@en . . . "\"What might the cinema tell us about how and why the prospect of cloning disturbs our most profound ideas about gender, sexuality, difference, and the body? In The Cinematic Life of the Gene, the pioneering feminist film theorist Jackie Stacey argues that as a cultural technology of imitation, cinema is uniquely situated to help us theorize \"the genetic imaginary,\" the constellation of fantasies that genetic engineering provokes.\" \"Since the mid-1990s there has been remarkable innovation in genetic engineering and a proliferation of films structured by anxieties about the changing meanings of biological and cultural reproduction. Bringing analyses of several of these films into dialogue with contemporary cultural theory, Stacey demonstrates how the cinema animates the tropes and enacts the fears at the heart of our genetic imaginary. She engages with film theory; queer theories of desire, embodiment, and kinship; psychoanalytic theories of subject formation; and debates about the reproducibility of the image and the shift from analog to digital technologies.\" \"Stacey examines the body-horror movies Alien: Resurrection and Species in light of Jean Baudrillard's apocalyptic proclamations about cloning and \"the hell of the same,\" and she considers the art-house thrillers Gattaca and Code 46 in relation to ideas about imitation, including feminist theories of masquerade, postcolonial conceptualizations of mimicry, and queer notions of impersonation.\" \"Turning to Teknolust." . "<DIV>Cultural study of how genetic engineering & genomics have influenced cultural conceptions of the human body as evidenced in contemporary films.</div>"@en . . . . . . . . . . . "And Genetic Admiration, independent films by feminist directors, she extends Walter Benjamin's theory of aura to draw an analogy between the replication of biological information and the reproducibility of the art object. Stacey suggests new ways to think about those who are not what they appear to be, the problem of determining identity in a world of artificiality, and the loss of singularity amid unchecked replication.\" --Résumé de l'éditeur." . "\"What might the cinema tell us about how and why the prospect of cloning disturbs our most profound ideas about gender, sexuality, difference, and the body? In The Cinematic Life of the Gene, the pioneering feminist film theorist Jackie Stacey argues that as a cultural technology of imitation, cinema is uniquely situated to help us theorize 'the genetic imaginary', the constellation of fantasies that genetic engineering provokes. Since the mid-1990s there has been remarkable innovation in genetic engineering and a proliferation of films structured by anxieties about the changing meanings of biological and cultural reproduction. Bringing analyses of several of these films into dialogue with contemporary cultural theory, Stacey demonstrates how the cinema animates the tropes and enacts the fears at the heart of our genetic imaginary. She engages with film theory; queer theories of desire, embodiment, and kinship; psychoanalytic theories of subject formation; and debates about the reproducibility of the image and the shift from analog to digital technologies. Stacey examines the body-horror movies Alien: Resurrection and Species in light of Jean Baudrillard's apocalyptic proclamations about cloning and 'the hell of the same', and she considers the art-house thrillers Gattaca and Code 46 in relation to ideas about imitation, including feminist theories of masquerade, postcolonial conceptualizations of mimicry, and queer notions of impersonation. Turning to Teknolust and Genetic Admiration, independent films by feminist directors, she extends Walter Benjamin's theory of aura to draw an analogy between the replication of biological information and the reproducibility of the art object. Stacey suggests new ways to think about those who are not what they appear to be, the problem of determining identity in a world of artificiality, and the loss of singularity amid unchecked replication.\"--Back cover."@en . . . . . . . . . . . . "Films de science-fiction Histoire et critique." . . "Genetic engineering in motion pictures." . . "Film." . . "HOMOSEXUALITY IN FILMS" . . "Film de science-fiction." . . "Science fiction films Social aspects." . . "GENDER AND THE CINEMA" . .