Employs the foodways paradigm to analyze the ideological dimensions of food imagery and food behavior in fiction and documentary films. 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. Scholars of film studies and food studies will enjoy the thought-provoking analysis of Appetites and Anxieties.

Despite government claims that food is safer and more readily available today than ever before, recent survey evidence demonstrates high levels of food-related anxiety among Western consumers. While chronic hunger and malnutrition are relatively rare in the West, food scares relating to individual products, concerns about global food security and other expressions of consumer anxiety about food remain widespread. Anxious Appetites explores the causes of these present-day anxieties. Looking at fears over provenance and regulation in a world of lengthening supply chains and greater concentration of corporate power, Peter Jackson investigates how anxieties about food circulate and how they act as a channel for broader social issues. Drawing on case studies such as the 2013 horsemeat scandal and fears about the contamination of infant formula in China in 2008, he examines how and why these concerns emerge. Comparing survey results with ethnographic observation of consumer practice, he explores the gap between official advice about food safety and people's everyday experience of food, including a critique of ideological notions of 'consumer choice'. A captivating, timely book which presents a new theory of social anxiety.

What looks like a consciously altruistic effort to encapsulate one woman's entire life into lessons for the benefit of womankind may be just that: after divulging every gruesome detail of her spiral into anorexia and subsequent self-discoveries in this memoir, Knapp died of lung cancer last June at age 42. Similar in tone to her previous Drinking: A Love Story, this work is candid and persuasive enough to reach many women with analogous problems. But it's more than one woman's tragic story; multitudinous interviews with women with eating disorders, excerpts from classic feminist texts and sociological statistics lend credence and categorize the book under cultural studies as much as self-help. Knapp hypothesizes that the feminists who came after the revolutionary 1960s, herself included, were stifled rather than empowered by the overwhelming choices before them. They gained ''the freedom to hunger and to satisfy hunger in all its varied forms.'' Unfortunately, writes Knapp, size-obsessed fashion magazines and other social messages contradict a woman's right to desire, contributing to the rise in eating disorders and other illnesses. Knapp observes an aspect of the backlash against the feminist movement: when ''women were demanding the right to take up more space in the world,'' they were being told by a still patriarchal society ''to grow physically smaller.'' Though Knapp admits it's ''easier to worry about the body than the soul,'' she hopes creating a dialogue about anorexia will enable all women to nourish both.

DIVAn experimental ethnography of food, sex, and health in post-socialist China/div

Debates about obesity are really about the meaning of responsibility. The trend toward local foods reflects the changing nature of space due to new communication technologies. Vegetarian theory capitalizes on biotechnology’s challenge to the meaning of species. And food politics, as this book makes powerfully clear, is actually about the political anxieties surrounding globalization. In Eating Anxiety, Chad Lavin argues that our culture’s obsession with diet, obesity, meat, and local foods enacts ideological and biopolitical responses to perceived threats to both individual and national sovereignty. Using the occasion of eating to examine assumptions about identity, objectivity, and sovereignty that underwrite so much political order, Lavin explains how food functions to help structure popular and philosophical understandings of the world and the place of humans within it. He introduces the concept of digestive subjectivity and shows how this offers valuable resources for rethinking cherished political ideals surrounding knowledge, democracy, and power. Exploring discourses of food politics, Eating Anxiety links the concerns of food—especially issues of sustainability, public health, and inequality—to the evolution of the world order and the possibilities for democratic rule. It forces us to question the significance of consumerist politics and—simultaneously—the relationship between politics and ethics, public and private.

The NBC series Hannibal has garnered both critical and fan acclaim for its cinematic qualities, its complex characters, and its innovative reworking of Thomas Harris’s mythology so well-known from Jonathan Demme’s Silence of the Lambs (1991) and its variants. The series concluded late in 2015 after three seasons, despite widespread fan support for its continuation. While there is a healthy body of scholarship on Harris’s novels and Demme’s film adaptation, little critical attention has been paid to this newest iteration of the character and narrative. Hannibal builds on the serial killer narratives of popular procedurals, while taking them in a drastically different direction. Like critically acclaimed series such as Breaking Bad and The Sopranos, it makes its viewers complicit in the actions of a deeply problematic individual and, in the case of Hannibal, forces them to confront that complicity through the character of Will Graham. The essays in Becoming explore these questions of authorship and audience response as well as the show’s themes of horror, gore, cannibalism, queerness, and transformation. Contributors also address Hannibal’s distinctive visual, auditory, and narrative style. Concluding with a compelling interview with series writer Nick Antosca, this volume will both entertain and educate scholars and fans of Hannibal and its many iterations.

Why do we eat? Is it instinct? Despite the necessity of food, anxieties about what and how to eat are widespread and persistent. In Appetite and Its Discontents, Elizabeth A. Williams explores contemporary worries about eating through the lens of science and medicine to show us how appetite—once a matter of personal inclination—became an object of science. Williams charts the history of inquiry into appetite between 1750 and 1950, as scientific and medical concepts of appetite shifted alongside developments in physiology, natural history, psychology, and ethology. She shows how, in the eighteenth century, trust in appetite was undermined when researchers who investigated ingestion and digestion began claiming that science alone could say which ways of eating were healthy and which were not. She goes on to trace nineteenth- and twentieth-century conflicts over the nature of appetite between mechanists and vitalists, experimentalists and bedside physicians, and localists and holists, illuminating struggles that have never been resolved. By exploring the core disciplines in investigations in appetite and eating, Williams reframes the way we think about food, nutrition, and the nature of health itself..