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Author Freedman, Carl Howard, author.

Title Versions of Hollywood crime cinema : studies in Ford, Wilder, Coppola, Scorsese and others / Carl Freedman.

Publication Info. Bristol, UK ; Chicago, IL : Intellect, 2013.

Copies

Location Call No. OPAC Message Status
 Axe 2nd Floor Stacks  791.436556 F875v 2013    ---  Available
1 copy being processed for Axe Acquisitions Order.
Description x, 189 pages ; 23 cm
text txt rdacontent
unmediated n rdamedia
volume nc rdacarrier
Bibliography Includes bibliographical references (p. [165]-172) and index.
Contents Section I. 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 II. Noir and its discontents. 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 III. 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.
Summary 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.
Subject Crime films -- History and criticism.
Crime films -- United States -- History and criticism.
Ford, John.
Wilder, Billy.
Coppola, Francis Ford.
Scorsese.
Crime films. (OCoLC)fst01750246
United States. (OCoLC)fst01204155
Genre/Form Criticism, interpretation, etc. (OCoLC)fst01411635
ISBN 9781841507248
1841507245

 
    
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