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Prison Movies : Cinema Behind Bars par Kevin Kehrwald : couverture rigide d'occasion
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Environ21,29 EUR
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Livraison :
4,47 USD (environ 3,81 EUR) USPS Media MailTM.
Lieu où se trouve l'objet : Nashville, Tennessee, États-Unis
Délai de livraison :
Estimé entre le jeu. 31 juil. et le mar. 5 août à 94104
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Numéro de l'objet eBay :325853758313
Caractéristiques de l'objet
- État
- Pages
- 144
- Publication Date
- 2017-02-14
- Book Title
- Prison Movies: Cinema Behind Bars
- ISBN
- 9780231181150
À propos de ce produit
Product Identifiers
Publisher
WallFlower Jeans Press
ISBN-10
0231181159
ISBN-13
9780231181150
eBay Product ID (ePID)
236879420
Product Key Features
Number of Pages
144 Pages
Publication Name
Prison Movies : Cinema Behind Bars
Language
English
Publication Year
2017
Subject
Film / Guides & Reviews, Film / History & Criticism
Type
Textbook
Subject Area
Performing Arts
Series
Short Cuts Ser.
Format
Trade Paperback
Dimensions
Item Height
0.3 in
Item Weight
6.3 Oz
Item Length
10.6 in
Item Width
6.9 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2016-288477
Grade From
College Graduate Student
Illustrated
Yes
Table Of Content
Acknowledgements Introduction: After the Crime is Over 1. Prison Films of Pre-Code Hollywood: Big Houses, Death Houses and Chain Gangs 2. Women's Prison Films of the 1950s and Early 1960s 3. Identity and Violence in Popular Prison Films from the 1960s to the 1990s Afterword: Post-9/11 Prison Movies and the Era of Mass Incarceration Bibliography Index
Synopsis
Prison Movies: Cinema Behind Bars traces the public fascination with incarceration from the silent era to the present., Prison Movies: Cinema Behind Bars traces the public fascination with incarceration from the silent era to the present. Often considered an offshoot of the gangster film, the prison film precedes the gangster film and is in many ways its opposite. Rather than focusing on tragic figures heading for a fall, the prison film focuses on fallen characters seeking redemption. The gangster's perverse pursuit of the American dream is irrelevant to the prisoner for whom that dream has already failed. At their core, prison films are about self-preservation at the hands of oppressive authority. Like history itself, prison films display long stretches of idleness punctuated by eruptions of violence, dangerous moments that signify liberation and the potential for change. The enclosed world of the prison is a highly effective microcosm, one that forces characters and audiences alike to confront vexing issues of race, class, gender, and sexuality. These portrayals of men and women behind bars have thrived because they deal with such fundamental human themes as freedom, individuality, power, justice, and mercy. Films examined include The Big House (1930), I Want to Live! (1958), The Defiant Ones (1958), Cool Hand Luke (1967), Midnight Express (1978), Escape from Alcatraz (1979), The Shawshank Redemption (1994), and Starred Up (2013)., Prison Movies: Cinema Behind Bars traces the public fascination with incarceration from the silent era to the present. Often considered an offshoot of the gangster film, the prison film precedes the gangster film and is in many ways its opposite. Rather than focusing on tragic figures heading for a fall, the prison film focuses on fallen characters seeking redemption. The gangster's perverse pursuit of the American dream is irrelevant to the prisoner for whom that dream has already failed. At their core, prison films are about self-preservation at the hands of oppressive authority. Like history itself, prison films display long stretches of idleness punctuated by eruptions of violence, dangerous moments that signify liberation and the potential for change. The enclosed world of the prison is a highly effective microcosm, one that forces characters and audiences alike to confront vexing issues of race, class, gender, and sexuality. These portrayals of men and women behind bars have thrived because they deal with such fundamental human themes as freedom, individuality, power, justice, and mercy. Films examined include The Big House (1930), I Want to Live (1958), The Defiant Ones (1958), Cool Hand Luke (1967), Midnight Express (1978), Escape from Alcatraz (1979), The Shawshank Redemption (1994), and Starred Up (2013).
LC Classification Number
PN1995.9.P68
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buchert2005
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