This title features highly original readings that shed new light on familiar movies. It is an unifying and largely original Marxist perspective that offers a fresh look at social relations as expressed in Hollywood cinema. It is a new construction of the category of the crime film, supported by an understanding of the importance of crime and crime cinema in cinema and society as a whole. 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. By establishing the category of crime - by drawing a line between the lawful and criminal, however thin, blurry, or even effectively meaningless the line may in practice become - society offers its own perhaps most consequential self-definition. Film, argues Carl Freedman, is an especially fruitful medium for considering questions like these.
One Lonely Knight: Mickey Spillane's Mike Hammer. Bowling Green, OH: Bowling Green State University Popular Press, 1984. Décharné, Max. Hardboiled Hollywood: The Origins of the Great Crime Films. Harpenden, U.K.: No Exit Press, 2005.
The Historical Dictionary of Film Noir is a comprehensive guide that ranges from 1940 to present day neo-noir.
Inspector Harry Hole is tested to the very limits of his sanity by a killer with a strange signature: a snowman.
A brilliant, interdisciplinary examination, this is a work that will appeal to a broad spectrum of readers.
"Orson Welles' classic 1958 noir movie Touch of Evil, the story of a corrupt police chief in a small town on the Mexican-American border, starring Charlton Heston, Janet Leigh and Marlene Dietrich, is widely recognised as one of the ...
The second section of the book turns to the examination of a range of international or global films, with an eye to assessing the strengths, frailties, and possible functions of law, as depicted in fictional cinema.
This volume assumes that, to know how British cinema truly works, it is necessary to pull back the veneer of the costume piece, the historical drama, and the rom-com and glimpse at what is underneath.
This volume assumes that, to know how British cinema truly works, it is necessary to pull back the veneer of the costume piece, the historical drama, and the rom-com and glimpse at what is underneath.
... La voluntad radiante, de Molina y Palmer, podemos 61 De Castigo divino a El cielo llora por mí.