Dan Hassler-Forest
Goodreads Author
Born
New York, The United States
Twitter
Genre
Influences
Member Since
August 2012
More books by Dan Hassler-Forest…
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| An inspired reading of the greatest hour of television ever produced. Wood's writing is a tour de force that rips through the episode minute by minute, with a magnificent balance between inspired detours and precise attention to the tiniest formal de ...more | |
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| An inspired reading of the greatest hour of television ever produced. Wood's writing is a tour de force that rips through the episode minute by minute, with a magnificent balance between inspired detours and precise attention to the tiniest formal de ...more | |
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| While I can understand the impulse to push back against the psychoanalytical frameworks that have historically dominated horror studies with an overwhelming emphasis on gender, this flimsy and under-theorized study pushes back much too hard without p ...more | |
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Dan
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Matt Sautman's review
of
A Very Nervous Person's Guide to Horror Movies:
"As a horror scholar, I cannot help but find Clasen reductive in his analysis, a fact that is worsened by occasional oversights in the horror history he incorporates into A Very Nervous Person's Guide's to Horror Movies--for example, he attributes the"
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Horror Film and Affect (Routledge Advances in Film Studies)
by Xavier Aldana Reyes (Goodreads Author) |
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| A superb study of horror cinema that confidently outlines a theoretical framework that prioritizes the body rather than any cultural or narrative codes as foundational in how the genre affects us. The writing can be a little stuffy and the high numbe ...more | |
“Bruce Wayne’s childhood experience of losing his parents during a random back-alley mugging remains the primary origin story for the Batman character, but other than irrationally (or, more accurately: insanely) motivating his desire to fight crime, the trauma seems to have had little discernable effect on his character.”
― Capitalist Superheroes: Caped Crusaders in the Neoliberal Age
― Capitalist Superheroes: Caped Crusaders in the Neoliberal Age
“Significantly, Superman’s first scene shows Jor-El rendering judgment, his deciding vote imposing the “Law of the Father ” on the criminal General Zod and his two followers, whose removal from Krypton’s symbolic order figuratively represents the castration associated with patriarchal punishment.”
― Capitalist Superheroes: Caped Crusaders in the Neoliberal Age
― Capitalist Superheroes: Caped Crusaders in the Neoliberal Age
Topics Mentioning This Author
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| The Book Vipers: * Last book(s) you acquired | 1293 | 511 | Jan 29, 2020 10:25AM |
“To be white, or straight, or male, or middle class is to be simultaneously ubiquitious and invisible. You’re everywhere you look, you’re the standard against which everyone else is measured. You’re like water, like air. People will tell you they went to see a “woman doctor” or they will say they went to see “the doctor.” People will tell you they have a “gay colleague” or they’ll tell you about a colleague. A white person will be happy to tell you about a “Black friend,” but when that same person simply mentions a “friend,” everyone will assume the person is white. Any college course that doesn’t have the word “woman” or “gay” or “minority” in its title is a course about men, heterosexuals, and white people. But we call those courses “literature,” “history” or “political science.”
This invisibility is political.”
― Privilege: A Reader
This invisibility is political.”
― Privilege: A Reader
“There are too many books I haven’t read, too many places I haven’t seen, too many memories I haven’t kept long enough.”
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“The notion that capital – as an infinitely ramified system of exploitation, an abstract, intangible but overpowering logic, a process without a subject or a subject without a face – poses formidable obstacles to its representation has often been taken in a sublime or tragic key. *Vast*, beyond the powers of individual or collective cognition; *invisible*, in its fundamental forms; *overwhelming*, in its capacity to reshape space, time and matter – but unlike the sublime, or indeed the tragic, in its propensity to thwart any reaffirmation of the uniqueness and interiority of a subject. Not a shipwreck *with* a spectator, but a shipwreck *of* the spectator.”
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