CHAPTER 3 OF MICE AND BART: The Simpsons and the Postmodern

Chapters in this book

1. Frontmatter i
2. ACKNOWLEDGEMENTS v
3. CONTENTS vii
4. INTRODUCTION POSTMODERNISM(S) 1
5. Part I The Ideological, the Mnemonic, the Parodic, and the Media
6. CHAPTER 1 THE PLAYER’S PARODY OF HOLLYWOOD A Different Kind of Suture 19
7. CHAPTER 2 INTERTEXTUAL MANEUVERS AROUND THE SUBALTERN Aladdin as a Postmodern Text 45
8. CHAPTER 3 OF MICE AND BART: The Simpsons and the Postmodern 61
9. CHAPTER 4 REIFICATION AND LOSS IN POSTMODERN PUBERTY: The Cultural Logic of Fredric Jameson and American Youth Movies 73
10. Part II Issues of Cross-Cultural Identity and National Cinemas
11. CHAPTER 5 REFIGURING PLEASURE Itami and the Postmodern Japanese Film 91
12. CHAPTER 6 DE-AUTHORIZING THE AUTEUR Postmodern Politics of Interpellation in Contemporary European Cinema 113
13. CHAPTER 7 THE POSTMODERNIST CONDITION IN POST-SOCIALIST EASTERN EUROPEAN FILMS The Case of a Political Pastiche and the Socialist- Hollywood Thriller in Recent Films of Polish Filmmakers 131
14. Part III Postmodernism as Tourism, (Post)History, and Colonization
15. CHAPTER 8 E.M. FORSTER’S ANTI-TOURISTIC TOURISM AND THE SIGHTSEEING GAZE OF CINEMA 145
16. CHAPTER 9 IMAGINARY GEOGRAPHIES The Colonial Subject in Contemporary French Cinema 167
17. CHAPTER 10 DECAPITATED SPECTATORS Barton Fink, (Post)History, and Cinematic Pleasure 187
18. Part IV Auteurial Presences
19. CHAPTER 11 SOMETHING LIKE AUTOBIOGRAPHY IN AKIRA KUROSAWA’S DREAMS 209
20. CHAPTER 12 NOT WAVING BUT DROWNING BY NUMBERS Peter Greenaway’s Cautionary Tale 219
21. CHAPTER 13 A DOUBLE VOICE The Dual Paternity of Querelle 231
22. NOTES ON THE CONTRIBUTORS 260
23. INDEX OF PROPER NAMES 262