The Cinematic Society

Norman K. Denzin is Distinguished Emeritus Professor of Communications, College of Communications Scholar, and Research Professor of Communications, Sociology, and Humanities at the University of Illinois at Urbana-Champaign, USA. One of the world's foremost authorities on qualitative research and cultural criticism, he is the author or editor of more than 30 books, including The Qualitative Manifesto; Qualitative Inquiry Under Fire; Reading Race; Interpretive Ethnography; The Cinematic Society; The Alcoholic Self; and a trilogy on the American West. He is past editor of The Sociological Quarterly, co-editor of six editions of the landmark SAGE Handbook of Qualitative Research, co-editor (with Michael D. Giardina) of 18 books on qualitative inquiry, co-editor (with Yvonna S. Lincoln and Michael D. Giardina) of the methods journal Qualitative Inquiry, founding editor of Cultural Studies?Critical Methodologies and International Review of Qualitative Research, editor of four book series, and founding director of the International Congress of Qualitative Inquiry.

Introduction The Birth of the Cinematic Society The Voyeur's Desire The Comic Voyeur's Gaze The Asian Eye Charlie Chan and Mr Moto Go to the Movies Flawed Visions The Obsessive Male Gaze Women at the Keyhole Fatal Female Visions Paranoia and the Erotics of Power The Voyeur's Future

`Denzin's analysis is closely argued and well supported by his choice of texts' - The Lecturer `If in The Cinematic Society, Norman Denzin successfully turns film criticism into a criticism of the human sciences, it is because The Cinematic Society takes as its frame of reference those movies in which the voyeur is the prominent figure - movies which Denzin suggests constitute a "reflexive cinema".... Thus while [the book] may seem to some only to be a book of movie reviews, it is a profoundly important piece of sociology precisely in the way it draws on relexive cinema to make a case for a reflexive postmodern sociology. This is not to say that the readings of the various movies are not themselves of interest; indeed they provide the clues for realizing that ours is no longer a cinematic society. The many mechanical devices that appear in these movies and that provide the context in which voyeurism becomes reflexive, point to the coming to dominance of telecommunication that not only poses profound changes in sociology - changes that must bring sociology even beyond the reflexive voyeurism of much postmodern ethnography. Denzin's singular effort to make sociologists attend to the relationship of sociology and the mass media find their clearest expression in The Cinematic Society, the best of his most recent works. Indeed, this is a book that should be worked with, worked through, because it provides a guide to the future of sociology' - Symbolic Interaction `Professor Denzin's enthralling examination of the evolution of the aesthetic of the voyeur's gaze in cinema, which began with the Peeping Tom films of the 1900's and continues with sex lies and videotape, Silence of the Lambs and the proto-pornographic wave which presently washes through the minds of Western audiences.... Denzin's scholarly book puts together an account of that voyeur's career through a century of cinema, explicating it film by film and genre by genre' - InterMedia `Adopting as a central premise the notion that the constitution of subjectivity occurs through the gaze of the Other, and locating the voyeur as the anti-hero of cinematic society, Denzin enters into a brilliant analysis of multiple forms of the voyeur's gaze' - Peter McLaren, University of California, Los Angeles