His name is synonymous with "independent film," and for more than twenty-five years, filmmaker John Sayles has tackled issues ranging from race and sexuality to the abuses of capitalism and American culture, aspiring to a type of realism that Hollywood can rarely portray. This collection offers unprecedented coverage of Sayles’s craft and content, as it deploys a rich variety of critical methods to explore the full scope of his work. Together the essays afford a deeper understanding not only of the individual films—including his 1980 The Return of the Secaucus Seven (named to the National Registry) and the recent Limbo and Men with Guns—but also of Sayles’s unusual place in American cinema and his influence worldwide. The focus of Sayles’s films is frequently on peoples’ lives, not on stories with tidy endings, and often a main goal is to alert viewers of their complicity in the problems at hand. One might assume his style to be content driven, but closer inspection reveals a mix of styles from documentary to postmodern. In this anthology, a set of international scholars addresses these and many other aspects of Sayles’s filmmaking as they explore individual works. Their methodological approaches include historical and industry analysis as well as psychoanalysis and postcolonial theory, to name a few. Sayles Talk is both an in-depth and wide-ranging tribute to the "father" of independent film. In one volume, readers can find discussions of most of Sayles’s films together with a comprehensive introduction to his film practice, an annotated list of existing literature on Sayles, and information on resources for further inquiry into his fiction, film, and television work. Film students as well as seasoned critics will turn to this book time and again to enrich their understanding of one of America’s great cinematic innovators and his legacy.
Cinema is a mosaic of memorable food scenes. Detectives drink alone. Gangsters talk with their mouths full. Families around the world argue at dinner. Food documentaries challenge popular consumption-centered visions. In Appetites and Anxieties: Food, Film, and the Politics of Representation, authors Cynthia Baron, Diane Carson, and Mark Bernard use a foodways paradigm, drawn from the fields of folklore and cultural anthropology, to illuminate film's cultural and material politics. In looking at how films do and do not represent food procurement, preparation, presentation, consumption, clean-up, and disposal, the authors bring the pleasures, dangers, and implications of consumption to center stage. In nine chapters, Baron, Carson, and Bernard consider food in fiction films and documentaries-from both American and international cinema. The first chapter examines film practice from the foodways perspective, supplying a foundation for the collection of case studies that follow. Chapter 2 takes a political economy approach as it examines the food industry and the film industry's policies that determine representations of food in film. In chapter 3, the authors explore food and food interactions as a means for creating community in Bagdad Café, while in chapter 4 they take a close look at 301/302, in which food is used to mount social critique. Chapter 5 focuses on cannibal films, showing how the foodways paradigm unlocks the implications of films that dramatize one of society's greatest food taboos. In chapter 6, the authors demonstrate ways that insights generated by the foodways lens can enrich genre and auteur studies. Chapter 7 considers documentaries about food and water resources, while chapter 8 examines food documentaries that slip through the cracks of film censorship by going into exhibition without an MPAA rating. Finally, in chapter 9, the authors study films from several national cinemas to explore the intersection of food, gender, and ethnicity. Four appendices provide insights from a food stylist, a selected filmography of fiction films and a filmography of documentaries that feature foodways components, and a list of selected works in food and cultural studies.