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Culinary Cinema: Appetite, Narrative, and Community Contemporary Film
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Culinary Cinema: Appetite, Narrative, and Community Contemporary Film in Franklin, TN
Current price: $110.00
Barnes and Noble
Culinary Cinema: Appetite, Narrative, and Community Contemporary Film in Franklin, TN
Current price: $110.00
Loading Inventory...
Size: Hardcover
In this book, Deborah Geis offers a new approach to the evolving genre of culinary films that center on the acts of eating and cooking through close analyses of ten different films. These films range from the classics, like
Big Night
(1996) and
Babette’s Feast
(1987) to later box-office hits, like
Chef
(2014) and to films that deserve a second look, like
East Side Sushi
(2014),
Burnt
(2015), and
Mid-August Lunch
(2008). Throughout these analyses, the book focuses on tropes including the “big dinner” as it connects to intercultural and transcultural communities; the self-destructive perfectionism of the obsessive chef; and the craft of cooking in relation to aging and mortality. Geis invites readers and viewers to experience food-driven narrative films with an appetite for appreciating the visual ingredients and the ways in which they construct pleasure through the act of looking as a vicarious approach to consuming the actual food. Drawing on the work of film theorist Christian Metz, Geis ultimately poses a new paradigm for watching and understanding culinary cinema as a significant – and constantly-evolving – genre that comes with its own conventions and contemporary filmmakers who seek to expand and transform those conventions in surprising ways.
Big Night
(1996) and
Babette’s Feast
(1987) to later box-office hits, like
Chef
(2014) and to films that deserve a second look, like
East Side Sushi
(2014),
Burnt
(2015), and
Mid-August Lunch
(2008). Throughout these analyses, the book focuses on tropes including the “big dinner” as it connects to intercultural and transcultural communities; the self-destructive perfectionism of the obsessive chef; and the craft of cooking in relation to aging and mortality. Geis invites readers and viewers to experience food-driven narrative films with an appetite for appreciating the visual ingredients and the ways in which they construct pleasure through the act of looking as a vicarious approach to consuming the actual food. Drawing on the work of film theorist Christian Metz, Geis ultimately poses a new paradigm for watching and understanding culinary cinema as a significant – and constantly-evolving – genre that comes with its own conventions and contemporary filmmakers who seek to expand and transform those conventions in surprising ways.
In this book, Deborah Geis offers a new approach to the evolving genre of culinary films that center on the acts of eating and cooking through close analyses of ten different films. These films range from the classics, like
Big Night
(1996) and
Babette’s Feast
(1987) to later box-office hits, like
Chef
(2014) and to films that deserve a second look, like
East Side Sushi
(2014),
Burnt
(2015), and
Mid-August Lunch
(2008). Throughout these analyses, the book focuses on tropes including the “big dinner” as it connects to intercultural and transcultural communities; the self-destructive perfectionism of the obsessive chef; and the craft of cooking in relation to aging and mortality. Geis invites readers and viewers to experience food-driven narrative films with an appetite for appreciating the visual ingredients and the ways in which they construct pleasure through the act of looking as a vicarious approach to consuming the actual food. Drawing on the work of film theorist Christian Metz, Geis ultimately poses a new paradigm for watching and understanding culinary cinema as a significant – and constantly-evolving – genre that comes with its own conventions and contemporary filmmakers who seek to expand and transform those conventions in surprising ways.
Big Night
(1996) and
Babette’s Feast
(1987) to later box-office hits, like
Chef
(2014) and to films that deserve a second look, like
East Side Sushi
(2014),
Burnt
(2015), and
Mid-August Lunch
(2008). Throughout these analyses, the book focuses on tropes including the “big dinner” as it connects to intercultural and transcultural communities; the self-destructive perfectionism of the obsessive chef; and the craft of cooking in relation to aging and mortality. Geis invites readers and viewers to experience food-driven narrative films with an appetite for appreciating the visual ingredients and the ways in which they construct pleasure through the act of looking as a vicarious approach to consuming the actual food. Drawing on the work of film theorist Christian Metz, Geis ultimately poses a new paradigm for watching and understanding culinary cinema as a significant – and constantly-evolving – genre that comes with its own conventions and contemporary filmmakers who seek to expand and transform those conventions in surprising ways.
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