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KATHRYN BIGELOW -
                          HOLLYWOOD TRANSGRESSOR

   edited by Deborah Jermyn and Sean Redmond, Southampton Institute, UK

                            Call for Abstracts



This edited collection of original essays on Kathryn Bigelow and her films
will be the first extended academic study to focus solely on the work of
one of Hollywood's most significant female players. Well known in popular
terms yet still relatively unexplored in the academic field, soundbites
about women and guns and speculation about the role of ex-husband James
Cameron in her career have often helped obscure rather than elucidate an
understanding of her work. Though issues of authorship will inevitably be
analysed here, this book is not a simple auteur study. Rather Bigelow can
be seen to provide a point of intersection into a whole range of issues at
the forefront of contemporary Film Studies and the transformation of
Hollywood into a post-classical cinema machine. Her place within New
Hollywood stands out as a filmmaker who blurs and confuses genre
conventions (Point Break, (1991)); reinscribes gender identities (Blue
Steel (1990), The Loveless (1983)); produces a breathless 'cinema of
attractions' (Strange Days (1995), Point Break (1991)); offers an
anti-authority liberalism and who is widely written about as a particular
type of radical, feminised/feminine auteur (with a wide and passionate fan
base). As a woman not just working within but helping to define the action
movie through her use of technical innovation and spectacle, she is a
central figure in the cinema of the last decade. In recent years the
box-office failure of Strange Days and friction with Luc Besson over
Company of Angels/Joan of Arc have interrupted her career but the
forthcoming release of  The Weight of Water (2000/1) will provide a new
chapter in her oeuvre. This book will bring together a series of essays
examining all these films, organised around three key themes: Film
Representation; Film Stylistics; and Film Institution.

Submissions and Deadline

Interested scholars should submit extracts of 300 - 500 words no later than
December 15 along with a condensed CV to:

Deborah Jermyn and Sean Redmond, Dept. of Film Studies, Faculty of Media,
Arts & Society, Southampton Institute, East Park Terrace, Southampton, SO14
0YN, U.K.

Further enquiries to [log in to unmask] and
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