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Alfred Hitchcock's American films are not only among the most admired works in world cinema, they also offer some of our most acute responses to the changing shape of American society in the 1940s, 50s, and 60s. The authors of this anthology show how famous films such as Strangers on a Train, Vertigo, North by Northwest, and Rear Window, along with more obscure ones such as Rope, The Wrong Man, and Family Plot, register the ideologies and insurgencies, the normative assumptions and the cultural alternatives, that shaped these tumultuous decades. They argue that, just as these films occupy a vi
National characteristics, American, in motion pictures. --- Caractéristiques nationales américaines dans le cinéma --- Etats-Unis -- Au cinéma --- Etats-Unis au cinéma --- National characteristics [American ] in motion pictures --- United States -- In motion pictures --- United States in motion pictures --- Verenigde Staten -- In de film --- Verenigde Staten in de film --- Volkskarakters [Amerikaanse ] in de film --- Hitchcock, Alfred Joseph --- Criticism and interpretation --- National characteristics [American ] in literature
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Cynthia Weber presents a study of how Americans construct their identity and the moral values that inform their foreign policy. She details how films released between 9/11 and Gulf War II reflect raging debates about US foreign policy and fundamental debates about what it means to be an American.
Political philosophy. Social philosophy --- Philosophy and psychology of culture --- National characteristics, American, in motion pictures. --- War films --- Caractéristiques nationales américaines dans le cinéma --- Films de guerre --- History and criticism. --- Histoire et critique --- National characteristics, American, in motion pictures --- History and criticism --- 852 Internationale conflicten --- 814 Theorie van de internationale betrekkingen --- 846 Identiteit --- Caractéristiques nationales américaines dans le cinéma --- Motion pictures --- War films - United States - History and criticism
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The setting is 1920s Berlin, cultural heart of Europe and the era's only serious cinematic rival to Hollywood. In his engaging study, Thomas Saunders explores an outstanding example of one of the most important cultural developments of this century: global Americanization through the motion picture. The invasion of Germany by American films, which began in 1921 with overlapping waves of sensationalist serials, slapstick shorts, society pictures, and historical epics, initiated a decade of cultural collision and accommodation. On the one hand it fueled an impassioned debate about the properties of cinema and the specter of wholesale Americanization. On the other hand it spawned unprecedented levels of cooperation and exchange. In Berlin, American motion pictures not only entertained all social classes and film tastes but also served as a vehicle for American values and a source of sharp economic competition. Hollywood in Berlin correlates the changing forms of Hollywood's contributions to Weimar culture and the discourses that framed and interpreted them, restoring historical contours to a leading aspect of cultural interchange in this century. At the same time, the book successfully embeds Weimar cinema in its contemporary international setting.
Film --- anno 1920-1929 --- Germany --- United States --- Motion pictures --- Motion pictures, American --- Motion pictures, German --- National characteristics, American, in motion pictures --- National characteristics, German, in motion pictures --- Cinéma --- Films américains --- Films allemands --- Caractéristiques nationales américaines dans le cinéma --- Caractéristiques nationales allemandes dans le cinéma --- History --- Influence --- Histoire --- National characteristics, American, in motion pictures. --- National characteristics, German, in motion pictures. --- Music, Dance, Drama & Film --- History. --- Influence. --- Cinéma --- Films américains --- Caractéristiques nationales américaines dans le cinéma --- Caractéristiques nationales allemandes dans le cinéma --- German motion pictures --- American motion pictures --- Moving-pictures, American --- Foreign films --- United States of America --- American influences --- Foreign influences. --- German influences.
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Motion pictures --- National characteristics, American, in motion pictures. --- History. --- United States --- Hollywood (Los Angeles, Calif.) --- In motion pictures. --- Caractéristiques nationales américaines dans le cinéma --- Etats-Unis -- Au cinéma --- Etats-Unis au cinéma --- National characteristics [American ] in motion pictures --- United States -- In motion pictures --- United States in motion pictures --- Verenigde Staten -- In de film --- Verenigde Staten in de film --- Volkskarakters [Amerikaanse ] in de film --- National characteristics, American, in motion pictures --- #SBIB:309H1320 --- History --- De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land) --- National characteristics [American ] in literature --- Cinéma --- États-Unis (sud) --- États-Unis --- Hollywood (Calif.) --- Histoire et critique --- Au cinéma
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National narratives create imaginary relations within imagined communities called national peoples. But in the American narrative, alongside the nexus of belonging established for the national community, the national narrative has represented other peoples (women, blacks, "foreigners", the homeless) from whom the property of nationness has been removed altogether and upon whose differences from them the national people depended for the construction of their norms. Dismantling this opposition has become the task of post-national (Post-Americanist) narratives, bent on changing the assumptions that found the "national identity."This volume, originally published as a special issue of bounrary 2, focuses on the process of assembling and dismantling the American national narrative(s), sketching its inception and demolition. The contributors examine various cultural, political, and historical sources--colonial literature, mass movements, epidemics of disease, mass spectacle, transnational corporations, super-weapons, popular magazines, literary texts--out of which this narrative was constructed, and propose different understandings of nationality and identity following in its wake.Contributors. Jonathan Arac, Lauren Berlant, Robert J. Corber, Elizabeth Freeman, Kathryn V. Lingberg, Jack Matthews, Alan Nadel, Patrick O'Donnell, Daniel O'Hara, Donald E. Pease, Ross Posnock, John Carlos Rowe, Rob Wilson
American literature --- Thematology --- Literary rhetorics --- Film --- United States --- American national characteristics in literature --- Amerikaans volkskarakter in de literatuur --- Caractéristiques nationales américaines dans la littérature --- Caractéristiques nationales américaines dans le cinéma --- Melville, Herman, 1819-1891. Typee --- Minderheden in de literatuur --- Minorities in films --- Minorities in literature --- Minorities in motion pictures --- Minorités dans la littérature --- Narration (Rhetoric) --- Narration (Rhétorique) --- Narrative writing --- National characteristics [American ] in literature --- National characteristics [American ] in motion pictures --- Verhaal (Retoriek) --- Volkskarakter [Amerikaans ] in de literatuur --- Volkskarakters [Amerikaanse ] in de film --- Motion pictures --- National characteristics, American, in literature --- National characteristics, American, in motion pictures --- Narrative (Rhetoric) --- Rhetoric --- Discourse analysis, Narrative --- Narratees (Rhetoric) --- Minorities as a theme in literature --- History and criticism --- History --- Intellectual life. --- Intellectual life --- Lentricchia, Frank --- Criticism and interpretation --- National characteristics, American, in literature. --- National characteristics, American, in motion pictures. --- Minorities in motion pictures. --- Minorities in literature. --- History and criticism. --- History. --- United States of America
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What key concerns are reflected in documentaries produced in and about the United States? How have documentaries engaged with competing visions of US history, culture, politics, and national identity? This book examines how documentary films have contributed to the American public sphere - creating a kind of public space, serving as sites for community-building, public expression, and social innovation. Geiger focuses on how documentaries have been significant in forming ideas of the nation, both as an imagined space and a real place. Moving from the dawn of cinema to the present day, this is the first full-length study to focus on the extensive range and history of American non-fiction filmmaking. Combining comprehensive overviews with in-depth case studies, Geiger maps American documentary's intricate histories, examining the impact of pre- and early cinema, travelogues, the avant-garde, 1930s social documentary, propaganda, direct cinema, postmodernism, and 'new' documentary. Offering detailed close analyses and fresh insights, this book provides students and scholars with a stimulating guide to American documentary, reminding us of its important place in cinema history. Key Features * Historical overview of major documentary forms and practices in the USA * Case studies, including Nanook of the North, The Plow that Broke the Plains, Grey Gardens, and Fahrenheit 9/11 * Analysis of critical debates relating to filmic representations of reality
Documentary films --- National characteristics, American --- History. --- In motion pictures. --- United States --- Blacksmith Scene (Film) --- Blacksmith Scene (Motion picture) --- Buffalo Dance (Film) --- Buffalo Dance (Motion picture) --- Caractéristiques nationales américaines dans le cinéma --- Etats-Unis -- Au cinéma --- Etats-Unis au cinéma --- Fahrenheit 9/11 (Film) --- Fahrenheit 9/11 (Motion picture) --- Grey Gardens (Film) --- Grey Gardens (Motion picture) --- Grey gardens (Film) --- Manhatta (Film) --- Manhatta (Motion picture) --- Memphis Belle, The (Film) --- Memphis Belle, The (Motion picture) --- Mess Call (Film) --- Mess Call (Motion picture) --- Mess call (Film) --- Nanook of the North (Film) --- Nanook of the North (Motion picture) --- National characteristics [American ] in motion pictures --- Plow that Broke the Plains, The (Film) --- Plow that Broke the Plains, The (Motion picture) --- Tongues Untied (Film) --- Tongues Untied (Motion picture) --- United States -- In motion pictures --- United States in motion pictures --- Verenigde Staten -- In de film --- Verenigde Staten in de film --- Volkskarakters [Amerikaanse ] in de film --- film --- filmgeschiedenis --- Verenigde Staten --- negentiende eeuw --- twintigste eeuw --- eenentwintigste eeuw --- documentaire film --- Flaherty Robert --- Maysles Albert --- Maysles David --- film en propaganda --- experimentele film --- Léger Fernand --- Sheeler Charles --- Strand Paul --- Lorentz Pare --- Ivens Joris --- Capra Frank --- Steiner Ralph --- Van Dyke Willard --- Riefenstahl Leni --- Ford John --- Wyler William --- direct cinema --- Leacock Richard --- Pennebaker D.A. --- Wiseman Frederick --- Davis Peter --- Morris Robert --- Riggs Marlon T. --- McElwee Ross --- Moore Michael --- 791.43 --- National characteristics, American, in motion pictures. --- Documentaires --- Caractéristiques nationales américaines dans le cinéma --- History and criticism --- Histoire et critique --- Etats-Unis au cinéma --- National characteristics [American ] in literature --- Film --- National characteristics, American, in motion pictures --- Pennebaker D.A --- Riggs Marlon T --- Motion pictures --- Nonfiction films --- Nonstory films --- Documentaries, Motion picture --- Documentary videos --- Factual films --- Motion picture documentaries --- Moving-pictures, Documentary --- Documentary mass media --- Actualities (Motion pictures) --- History and criticism. --- United States of America --- Films documentaires --- Caractère national américain --- Nationalisme --- États-Unis
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