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Melodrama, masculinity and international art cinema /
This book offers a detailed study of how some of the most illustrious auteurs in the history of art cinema have made use of melodrama to represent masculine subjectivity on the screen.
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
London :
Anthem Press,
2022.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- <P>List of Figures; Preface; Acknowledgments; Introduction; 1. Italian Neorealism and the Emergence of the Male Melodrama: Vittorio De Sica'sBicycle Thieves (1948) and Umberto D. (1952); 2. The Migration of Male Melodrama into Non-Western Cultures: Satyajit Ray's The Apu Trilogy (1955-59) and "Fourth Cinema" ; 3. Hollywood Melodrama as a Vehicle for Self-Projection: Vincente Minnelli's Tea and Sympathy (1956) and Home from the Hill (1960); 4. The Political Turns Personal: Neo-Neorealism and Pier Paolo Pasolini's Accattone(1961); 5. Personal Cinema as Psychodrama: Ingmar Bergman's Wild Strawberries (1957), Winter Light (1963) and Hour of the Wolf (1968); 6. François Truffaut and the Tyranny of Romantic Obsession: The Soft Skin (1964), Mississippi Mermaid (1969) and The Woman Next Door (1981); 7. Figuring an Authorial Fantasmatic: Jacques Demy's The Umbrellas of Cherbourg (1964), A Room In Town (1982) and Parking (1985); 8. Rainer Werner Fassbinder and the Emergence of Queer Cinema: The Merchant of Four Seasons (1972), Fox and His Friends (1975) and In a Year with 13 Moons (1978); 9. Visual Aestheticism and the Queer Prestige Melodrama: Call Me by Your Name (2017) and Luca Guadagnino's Desire Trilogy; Conclusion; List of Films Cited; Select Bibliography; Index</p>