000			04019nam a22005535i 4500
001			184049
003			IT-RoAPU
005			20221214232107.0
006			m|||||o||d||||||||
007			cr || ||||||||
008			220302t20162016nyu fo d z eng d
020			_a9780231172509 _qprint
020			_a9780231542975 _qPDF
024	7		_a10.7312/lind17250 _2doi
035			_a(DE-B1597)9780231542975
035			_a(DE-B1597)478166
035			_a(OCoLC)979621014
040			_aDE-B1597 _beng _cDE-B1597 _erda
050		4	_aPN1995.9.F65 _b.L563 2017
072		7	_aPER004030 _2bisacsh
082	0	4	_a791.43/6564 _223
084			_aonline - DeGruyter
100	1		_aLindenfeld, Laura _eautore
245	1	0	_aFeasting Our Eyes : _bFood Films and Cultural Identity in the United States / _cFabio Parasecoli, Laura Lindenfeld.
264		1	_aNew York, NY : _bColumbia University Press, _c[2016]
264		4	_c©2016
300			_a1 online resource (280 p.) : _b26 b&w illustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tContents -- _tIllustrations -- _tAcknowledgments -- _tIntroduction -- _t1. Food Films and Consumption: Selling Big Night -- _t2. Autonomy in the Kitchen? Food Films and Postfeminism -- _t3. Magical Food, Luscious Bodies -- _t4. Culinary Comfort: Th e Satiating Construction of Masculinity -- _t5. When Weirdos Stir the Pot: Cooking Identity in Animated Movies -- _t6. Consuming the Other: Food Films as Culinary Tourism -- _tConclusion -- _tNotes -- _tBibliography -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_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.
530			_aIssued also in print.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)
650		0	_aFood in motion pictures.
650		0	_aFood _xSocial aspects _zUnited States.
650		0	_aMotion pictures _zUnited States _xHistory.
650		7	_aPERFORMING ARTS / Film & Video / History & Criticism. _2bisacsh
700	1		_aParasecoli, Fabio _eautore
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.7312/lind17250
856	4	0	_uhttps://www.degruyter.com/isbn/9780231542975
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780231542975/original
942			_cEB
999			_c184049 _d184049