Filmed Thought Cinema as Reflective Form
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| Format: | Elektronisch E-Book |
| Sprache: | English |
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2019
©2019 |
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| 505 | 0 | |a Intro -- Contents -- Section I. Cinema as Reflective Form -- 1. Cinematic Reflection -- 2. Cinematic Self-Consciousness in Alfred Hitchcock's Rear Window -- Section II. Moral Variations -- 3. Devils & -- Angels in Pedro Almodóvar's Talk to Her -- 4. Confounding Morality in Alfred Hitchcock's Shadow of a Doubt -- Section III. Social Pathologies -- 5. Cinematic Tone in Roman Polanski's Chinatow -- Can "Life" Itself Be "False"? -- 6. Love & -- Class in Douglas Sirk's All That Heaven Allows -- Section IV. Irony & -- Mutuality -- 7. Cinematic Irony: The Strange Case of Nicholas Ray's Johnny Guitar -- 8. Passive & -- Active Skepticism in Nicholas Ray's In a Lonely Place -- Section V. Agency & -- Meaning -- 9. Vernacular Metaphysics: On Terrence Malick's The Thin Red Line -- 10. Psychology Degree Zero? The Representation of Action in the Films of the Dardenne Brothers -- Acknowledgments -- Works Cited -- Index | |
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Datensatz im Suchindex
| _version_ | 1819315488397721600 |
|---|---|
| any_adam_object | |
| author | Pippin, Robert B. |
| author_facet | Pippin, Robert B. |
| author_role | aut |
| author_sort | Pippin, Robert B. |
| author_variant | r b p rb rbp |
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| bvnumber | BV048726223 |
| contents | Intro -- Contents -- Section I. Cinema as Reflective Form -- 1. Cinematic Reflection -- 2. Cinematic Self-Consciousness in Alfred Hitchcock's Rear Window -- Section II. Moral Variations -- 3. Devils & -- Angels in Pedro Almodóvar's Talk to Her -- 4. Confounding Morality in Alfred Hitchcock's Shadow of a Doubt -- Section III. Social Pathologies -- 5. Cinematic Tone in Roman Polanski's Chinatow -- Can "Life" Itself Be "False"? -- 6. Love & -- Class in Douglas Sirk's All That Heaven Allows -- Section IV. Irony & -- Mutuality -- 7. Cinematic Irony: The Strange Case of Nicholas Ray's Johnny Guitar -- 8. Passive & -- Active Skepticism in Nicholas Ray's In a Lonely Place -- Section V. Agency & -- Meaning -- 9. Vernacular Metaphysics: On Terrence Malick's The Thin Red Line -- 10. Psychology Degree Zero? The Representation of Action in the Films of the Dardenne Brothers -- Acknowledgments -- Works Cited -- Index |
| ctrlnum | (DE-599)BVBBV048726223 |
| format | Electronic eBook |
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| id | DE-604.BV048726223 |
| illustrated | Not Illustrated |
| indexdate | 2024-12-24T10:00:54Z |
| institution | BVB |
| isbn | 9780226672144 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034670404 |
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| physical | 1 online resource (313 pages) |
| publishDate | 2019 |
| publishDateSearch | 2019 |
| publishDateSort | 2019 |
| publisher | University of Chicago Press |
| record_format | marc |
| spelling | Pippin, Robert B. Verfasser aut Filmed Thought Cinema as Reflective Form Chicago University of Chicago Press 2019 ©2019 1 online resource (313 pages) txt rdacontent c rdamedia cr rdacarrier Intro -- Contents -- Section I. Cinema as Reflective Form -- 1. Cinematic Reflection -- 2. Cinematic Self-Consciousness in Alfred Hitchcock's Rear Window -- Section II. Moral Variations -- 3. Devils & -- Angels in Pedro Almodóvar's Talk to Her -- 4. Confounding Morality in Alfred Hitchcock's Shadow of a Doubt -- Section III. Social Pathologies -- 5. Cinematic Tone in Roman Polanski's Chinatow -- Can "Life" Itself Be "False"? -- 6. Love & -- Class in Douglas Sirk's All That Heaven Allows -- Section IV. Irony & -- Mutuality -- 7. Cinematic Irony: The Strange Case of Nicholas Ray's Johnny Guitar -- 8. Passive & -- Active Skepticism in Nicholas Ray's In a Lonely Place -- Section V. Agency & -- Meaning -- 9. Vernacular Metaphysics: On Terrence Malick's The Thin Red Line -- 10. Psychology Degree Zero? The Representation of Action in the Films of the Dardenne Brothers -- Acknowledgments -- Works Cited -- Index |
| spellingShingle | Pippin, Robert B. Filmed Thought Cinema as Reflective Form Intro -- Contents -- Section I. Cinema as Reflective Form -- 1. Cinematic Reflection -- 2. Cinematic Self-Consciousness in Alfred Hitchcock's Rear Window -- Section II. Moral Variations -- 3. Devils & -- Angels in Pedro Almodóvar's Talk to Her -- 4. Confounding Morality in Alfred Hitchcock's Shadow of a Doubt -- Section III. Social Pathologies -- 5. Cinematic Tone in Roman Polanski's Chinatow -- Can "Life" Itself Be "False"? -- 6. Love & -- Class in Douglas Sirk's All That Heaven Allows -- Section IV. Irony & -- Mutuality -- 7. Cinematic Irony: The Strange Case of Nicholas Ray's Johnny Guitar -- 8. Passive & -- Active Skepticism in Nicholas Ray's In a Lonely Place -- Section V. Agency & -- Meaning -- 9. Vernacular Metaphysics: On Terrence Malick's The Thin Red Line -- 10. Psychology Degree Zero? The Representation of Action in the Films of the Dardenne Brothers -- Acknowledgments -- Works Cited -- Index |
| title | Filmed Thought Cinema as Reflective Form |
| title_auth | Filmed Thought Cinema as Reflective Form |
| title_exact_search | Filmed Thought Cinema as Reflective Form |
| title_full | Filmed Thought Cinema as Reflective Form |
| title_fullStr | Filmed Thought Cinema as Reflective Form |
| title_full_unstemmed | Filmed Thought Cinema as Reflective Form |
| title_short | Filmed Thought |
| title_sort | filmed thought cinema as reflective form |
| title_sub | Cinema as Reflective Form |
| work_keys_str_mv | AT pippinrobertb filmedthoughtcinemaasreflectiveform |