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Wersje Hollywood Crime Cinema: Studies in Ford, Wilder, Coppola, Scorsese,–
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Parametry przedmiotu
- Stan
- Book Title
- Versions of Hollywood Crime Cinema: Studies in Ford, Wilder, Copp
- Publication Date
- 2013-07-15
- Pages
- 184
- ISBN
- 9781841507248
- Subject Area
- Performing Arts
- Publication Name
- Versions of Hollywood Crime Cinema : Studies in Ford, Wilder, Coppola, Scorsese, and Others
- Publisher
- Intellect, The Limited
- Item Length
- 0.9 in
- Subject
- Film / General, Film / Genres / Crime
- Publication Year
- 2013
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0 in
- Item Weight
- 13.3 Oz
- Item Width
- 0.7 in
- Number of Pages
- 184 Pages
O tym produkcie
Product Identifiers
Publisher
Intellect, The Limited
ISBN-10
1841507245
ISBN-13
9781841507248
eBay Product ID (ePID)
143930422
Product Key Features
Number of Pages
184 Pages
Language
English
Publication Name
Versions of Hollywood Crime Cinema : Studies in Ford, Wilder, Coppola, Scorsese, and Others
Publication Year
2013
Subject
Film / General, Film / Genres / Crime
Type
Textbook
Subject Area
Performing Arts
Format
Trade Paperback
Dimensions
Item Height
0 in
Item Weight
13.3 Oz
Item Length
0.9 in
Item Width
0.7 in
Additional Product Features
Intended Audience
Scholarly & Professional
Dewey Edition
23
Reviews
Carl Freedman once more proves himself the most sensitive reader of texts and the most lucid explicator of critical theory. It is a commonplace that mob movies expose the logic of capitalism, but his nuanced analysis of the Godfather trilogy in terms of Marx's concept of primitive accumulation for once actually makes the case-and makes it stick. Freedman's inclusion of westerns in crime cinema merely appears idiosyncratic-Edwin S. Porter's The Great Train Robbery was seen as a violent crime movie long before anyone called it a western-and his consummate discussion of John Wayne's post-heterosexual masculinity is worth the price of admission alone., Carl Freedman once more proves himself the most sensitive reader of texts and the most lucid explicator of critical theory. It is a commonplace that mob movies expose the logic of capitalism, but his nuanced analysis of the Godfather trilogy in terms of Marx's concept of primitive accumulation for once actually makes the case--and makes it stick. Freedman's inclusion of westerns in crime cinema merely appears idiosyncratic--Edwin S. Porter's The Great Train Robbery was seen as a violent crime movie long before anyone called it a western--and his consummate discussion of John Wayne's post-heterosexual masculinity is worth the price of admission alone., Whether discussing the 'post-heterosexuality' of John Wayne or the role of what Marx called 'primitive accumulation' in the Godfather films, Carl Freedman offers thought-provoking new insights on classic Hollywood films.
Illustrated
Yes
Dewey Decimal
791.436556
Table Of Content
Acknowledgements Introduction Section 1: Gangsterism and Capitalism: The Mob Movie and After The supplement of Coppola: Primitive accumulation and the Godfather trilogy Hobbes after Marx, Scorsese after Coppola: On Goodfellas Tony Soprano and the end(s) of the mob movie Section 2: Noir and its Disconnects Marxism, cinema, and some dialectics of film noir and science fiction Noir, neo-noir, and the end of work: From Double Indemnity to Body Heat Section 3: Empire and Gender in the John Wayne Western Versions of the American imperium in three westerns by John Ford Post-heterosexuality: John Wayne and the construction of American masculinity Notes Index
Synopsis
No society is without crime, prompting Nathaniel Hawthorne s narrator to make his famous statement in "The Scarlet Letter "that, however high its hopes are, no civilization can fail to allot a portion of its soil as the site of a prison. Crime has also been a prevailing, common theme in films that call us to consider its construction: How do we determine what is lawful and what is criminal? And how, in turn, does this often hypocritical distinction determine society? Film, argues Carl Freedman, is an especially fruitful medium for considering questions like these. With" Versions of Hollywood Crime Cinema," he offers a series of critical readings spanning several genres. From among the mob movies, Freedman focuses on Francis Ford Coppola s "Godfather" trilogy arguably the foremost work of crime cinema crafting a convincing argument that the plot s action is principally driven by the shift from Sicily to America, which marks the shift to a capitalist society. Turning his attention to other genres, Freedman also looks at film noir and Westerns, in addition to films for which crime is significant but not central, from horror movies like Stanley Kubrick s "The Shining" to science fiction and social realist films like "The Grapes of Wrath." In recent years, television has welcomed innovative works like "Boardwalk Empire, The Wire," and "The Sopranos," and Freedman discusses how television s increasingly congenial creative environment has allowed it to turn out productions whose ability to engage with these larger social questions rivals that of films from the height of cinema s Golden Age.", No society is without crime, prompting Nathaniel Hawthorne's narrator to make his famous statement in The Scarlet Letter that, however high its hopes are, no civilization can fail to allot a portion of its soil as the site of a prison. Crime has also been a prevailing, common theme in films that call us to consider its construction: How do we determine what is lawful and what is criminal? And how, in turn, does this often hypocritical distinction determine society? Film, argues Carl Freedman, is an especially fruitful medium for considering questions like these. With Versions of Hollywood Crime Cinema , he offers a series of critical readings spanning several genres. From among the mob movies, Freedman focuses on Francis Ford Coppola's Godfather trilogy--arguably the foremost work of crime cinema--crafting a convincing argument that the plot's action is principally driven by the shift from Sicily to America, which marks the shift to a capitalist society. Turning his attention to other genres, Freedman also looks at film noir and Westerns, in addition to films for which crime is significant but not central, from horror movies like Stanley Kubrick's The Shining to science fiction and social realist films like The Grapes of Wrath . In recent years, television has welcomed innovative works like Boardwalk Empire, The Wire , and The Sopranos , and Freedman discusses how television's increasingly congenial creative environment has allowed it to turn out productions whose ability to engage with these larger social questions rivals that of films from the height of cinema's Golden Age., Versions of Hollywood Crime Cinema offers a series of critical readings spanning several genres. From among the mob movies, Carl Freedman focuses on Francis Ford Coppola's Godfather trilogy - arguably the foremost work of crime cinema -crafting a convincing argument that the plot's action is principally driven by the shift from Sicily to America, which marks the shift to a capitalist society. Turning his attention to other genres, Freedman also looks at film noir and Westerns, in addition to films for which crime is significant but not central, from horror movies like Stanley Kubrick's The Shining to science fiction and social realist films like The Grapes of Wrath . In recent years, television has welcomed innovative works like Boardwalk Empire, The Wire and The Sopranos , and Freedman discusses how television's increasingly congenial creative environment has allowed it to turn out productions whose ability to engage with these larger social questions rivals that of films from the height of cinema's Golden Age.
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