Suzanne Enzerink is an MA student in American Studies at the University of Groningen, The Netherlands, and will be a visiting graduate student at Brown University from August-March. She has written extensively on cultural theory and has a particular interest in the American South and film. For her BA thesis, she was able to combine all three, and wrote on the imbrication of race, class, gender and nationality in D.W. Griffith's The Birth of a Nation and Victor Fleming's Gone With The Wind. During a semester at the University of North Carolina, Chapel Hill, she wrote film reviews for The Daily Tar Heel.
In 1957, Academy Award-nominated actress Dorothy Dandridge found herself at the center of a smear campaign that betrayed the patriarchal and racial politics of Hollywood and the US at large. The '50s were far from calm.
Now that The Artist gave the Golden Globes a distinctly French flavor, and Meryl Streep fueled the controversy in the British camp, a simultaneous rapprochement and tension defines the relationship between the European and American film industry.
Illegal immigration is a hotly contested topic in American society and politics. Sin Nombre opens up important questions about migration that documentaries often ignore: there is no such monolithic category as "the immigrant", and migration is not solely an economic decision.
Meet Monica Velour and The Girl Next Door demonstrate that mainstream representations of pornography, even in a society in which sex proliferates, are still surprisingly one-sided and inconsistent with counter-narratives offered by industry insiders themselves.
Female rapper Kreayshawn is on her way to becoming 2011's international sensation after her song "Gucci Gucci" ridiculed all "basic bitches" that value designer clothes. So who is this Oakland-based revelation?
The value of fandom is often underestimated. Rather than the stereotyped burnt-out housewives or socially inept teenagers that obsessively and indiscriminately consume popular culture, fans are active agents.
Live-action fairytale adaptations are more popular than ever, with Red Riding Hood just out and four others -- including two Snow Whites in the works. But film and the source texts do not effortlessly go together, and children emerge as the losers.
If you’ve seen Charles Kaufman’s Mother’s Day, you know that loving mothers come in many forms. Now, Darren Lynn Bousman comes with a remake of the 1980 cult classic. A lot less scary, but still, not all moms will appreciate a ticket to the movie theater.
Many columns have been devoted to the successful transitions of actors such as Clint Eastwood and Ben Affleck from acting into directing, but who are some of the women that have excelled behind the camera?
The unfamiliar will only find acceptance if it is expressed in familiar terms; thus, aliens "...may have bulbous heads and triangular eyes, speak in a chillingly robotic monotone or emit a strong stench of sulphur, but otherwise they look much like Tony Blair."
Hauer’s entire career is characterized by elusiveness; it is impossible to pinpoint him on genre, type of character, or the scale or format of the productions he stars in, and this is what makes his oeuvre so exciting. Also in 2011.