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. To date, masculinity has tended to be presented in cinema studies as a monolithic category that serves the interest...
Gespeichert in:
1. Verfasser: | |
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Format: | Buch |
Sprache: | English |
Veröffentlicht: |
London ; New York
Anthem Press
2023
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Schlagworte: | |
Zusammenfassung: | 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. To date, masculinity has tended to be presented in cinema studies as a monolithic category that serves the interests of a hegemonic, normative patriarchy. This book demonstrates how the art-house film, in the form of personal cinema and its exploitation of the melodramatic mode, tells a different story, presenting a vision of masculinity that is sexually fluid, fragmented, unstable, and often incapacitated to the point of paralysis, being undermined not only from within, but also by external circumstance. Hollywood, in the form of "male weepies," offered preliminary insights into this failing masculinity, but it is with the flowering of Post-World War II art film and its subsequent movement into the "indie" waves of the late 20th century and the early 21st century that cinema more profoundly realizes its potential to serve as a vehicle for the exploration of men's interior lives, developing what might be termed the "male melodrama," the correlative of the woman's film |
Beschreibung: | xiii, 220 Seiten Illustrationen 23 cm |
ISBN: | 9781839984075 |
Internformat
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300 | |a xiii, 220 Seiten |b Illustrationen |c 23 cm | ||
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505 | 8 | |a Italian Neorealism and the emergence of the male melodrama : Vittorio De Sica's Bicycle thieves (1948) and Umberto D. (1952) -- The migration of male melodrama into non-Western cultures : Satyajit Ray's The Apu trilogy (1955-59) and "Fourth cinema" -- Hollywood melodrama as a vehicle for self-projection : Vincente Minnelli's Tea and sympathy (1956) and Home from the hill (1960) -- The political turns personal : Neo-Neorealism and Pier Paolo Pasolini's Accattone (1961) -- Personal cinema as psychodrama : Ingmar Bergman's Wild strawberries (1957), Winter light (1963) and Hour of the wolf (1968) -- François Truffaut and the tyranny of romantic obsession : The soft skin (1964), Mississippi mermaid (1969) and The woman next door (1981) -- Figuring an authorial fantasmatic : Jacques Demy's The umbrellas of Cherbourg (1964), A room In town (1982) and Parking (1985) -- 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) -- Visual aestheticism and the queer prestige melodrama : Call me by your name (2017) and Luca Guadagnino's Desire trilogy | |
520 | 3 | |a 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. To date, masculinity has tended to be presented in cinema studies as a monolithic category that serves the interests of a hegemonic, normative patriarchy. This book demonstrates how the art-house film, in the form of personal cinema and its exploitation of the melodramatic mode, tells a different story, presenting a vision of masculinity that is sexually fluid, fragmented, unstable, and often incapacitated to the point of paralysis, being undermined not only from within, but also by external circumstance. Hollywood, in the form of "male weepies," offered preliminary insights into this failing masculinity, but it is with the flowering of Post-World War II art film and its subsequent movement into the "indie" waves of the late 20th century and the early 21st century that cinema more profoundly realizes its potential to serve as a vehicle for the exploration of men's interior lives, developing what might be termed the "male melodrama," the correlative of the woman's film | |
648 | 7 | |a Geschichte |2 gnd |9 rswk-swf | |
650 | 0 | 7 | |a Melodrama |g Film |0 (DE-588)4169389-9 |2 gnd |9 rswk-swf |
650 | 0 | 7 | |a Männlichkeit |g Motiv |0 (DE-588)4372433-4 |2 gnd |9 rswk-swf |
653 | 0 | |a Melodrama in motion pictures | |
653 | 0 | |a Masculinity in motion pictures | |
653 | 0 | |a Motion pictures / History / 20th century | |
653 | 0 | |a Motion pictures | |
653 | 4 | |a 1900-1999 | |
653 | 6 | |a History | |
689 | 0 | 0 | |a Melodrama |g Film |0 (DE-588)4169389-9 |D s |
689 | 0 | 1 | |a Männlichkeit |g Motiv |0 (DE-588)4372433-4 |D s |
689 | 0 | 2 | |a Geschichte |A z |
689 | 0 | |5 DE-604 | |
776 | 0 | 8 | |i Erscheint auch als |n Online-Ausgabe |z 9781839984099 |
940 | 1 | |n by | |
940 | 1 | |q BSB_NED_20230224 | |
999 | |a oai:aleph.bib-bvb.de:BVB01-034027292 | ||
942 | 1 | 1 | |c 791.409 |e 22/bsb |f 0904 |
Datensatz im Suchindex
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adam_txt | |
any_adam_object | |
any_adam_object_boolean | |
author | Fox, Alistair 1948- |
author_GND | (DE-588)1070944408 |
author_facet | Fox, Alistair 1948- |
author_role | aut |
author_sort | Fox, Alistair 1948- |
author_variant | a f af |
building | Verbundindex |
bvnumber | BV048652535 |
contents | Italian Neorealism and the emergence of the male melodrama : Vittorio De Sica's Bicycle thieves (1948) and Umberto D. (1952) -- The migration of male melodrama into non-Western cultures : Satyajit Ray's The Apu trilogy (1955-59) and "Fourth cinema" -- Hollywood melodrama as a vehicle for self-projection : Vincente Minnelli's Tea and sympathy (1956) and Home from the hill (1960) -- The political turns personal : Neo-Neorealism and Pier Paolo Pasolini's Accattone (1961) -- Personal cinema as psychodrama : Ingmar Bergman's Wild strawberries (1957), Winter light (1963) and Hour of the wolf (1968) -- François Truffaut and the tyranny of romantic obsession : The soft skin (1964), Mississippi mermaid (1969) and The woman next door (1981) -- Figuring an authorial fantasmatic : Jacques Demy's The umbrellas of Cherbourg (1964), A room In town (1982) and Parking (1985) -- 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) -- Visual aestheticism and the queer prestige melodrama : Call me by your name (2017) and Luca Guadagnino's Desire trilogy |
ctrlnum | (OCoLC)1369611593 (DE-599)BVBBV048652535 |
era | Geschichte gnd |
era_facet | Geschichte |
format | Book |
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id | DE-604.BV048652535 |
illustrated | Illustrated |
index_date | 2024-07-03T21:20:11Z |
indexdate | 2024-07-10T09:45:06Z |
institution | BVB |
isbn | 9781839984075 |
language | English |
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physical | xiii, 220 Seiten Illustrationen 23 cm |
psigel | BSB_NED_20230224 |
publishDate | 2023 |
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publishDateSort | 2023 |
publisher | Anthem Press |
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spelling | Fox, Alistair 1948- Verfasser (DE-588)1070944408 aut Melodrama, masculinity and international art cinema Alistair Fox London ; New York Anthem Press 2023 xiii, 220 Seiten Illustrationen 23 cm txt rdacontent n rdamedia nc rdacarrier Italian Neorealism and the emergence of the male melodrama : Vittorio De Sica's Bicycle thieves (1948) and Umberto D. (1952) -- The migration of male melodrama into non-Western cultures : Satyajit Ray's The Apu trilogy (1955-59) and "Fourth cinema" -- Hollywood melodrama as a vehicle for self-projection : Vincente Minnelli's Tea and sympathy (1956) and Home from the hill (1960) -- The political turns personal : Neo-Neorealism and Pier Paolo Pasolini's Accattone (1961) -- Personal cinema as psychodrama : Ingmar Bergman's Wild strawberries (1957), Winter light (1963) and Hour of the wolf (1968) -- François Truffaut and the tyranny of romantic obsession : The soft skin (1964), Mississippi mermaid (1969) and The woman next door (1981) -- Figuring an authorial fantasmatic : Jacques Demy's The umbrellas of Cherbourg (1964), A room In town (1982) and Parking (1985) -- 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) -- Visual aestheticism and the queer prestige melodrama : Call me by your name (2017) and Luca Guadagnino's Desire trilogy 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. To date, masculinity has tended to be presented in cinema studies as a monolithic category that serves the interests of a hegemonic, normative patriarchy. This book demonstrates how the art-house film, in the form of personal cinema and its exploitation of the melodramatic mode, tells a different story, presenting a vision of masculinity that is sexually fluid, fragmented, unstable, and often incapacitated to the point of paralysis, being undermined not only from within, but also by external circumstance. Hollywood, in the form of "male weepies," offered preliminary insights into this failing masculinity, but it is with the flowering of Post-World War II art film and its subsequent movement into the "indie" waves of the late 20th century and the early 21st century that cinema more profoundly realizes its potential to serve as a vehicle for the exploration of men's interior lives, developing what might be termed the "male melodrama," the correlative of the woman's film Geschichte gnd rswk-swf Melodrama Film (DE-588)4169389-9 gnd rswk-swf Männlichkeit Motiv (DE-588)4372433-4 gnd rswk-swf Melodrama in motion pictures Masculinity in motion pictures Motion pictures / History / 20th century Motion pictures 1900-1999 History Melodrama Film (DE-588)4169389-9 s Männlichkeit Motiv (DE-588)4372433-4 s Geschichte z DE-604 Erscheint auch als Online-Ausgabe 9781839984099 |
spellingShingle | Fox, Alistair 1948- Melodrama, masculinity and international art cinema Italian Neorealism and the emergence of the male melodrama : Vittorio De Sica's Bicycle thieves (1948) and Umberto D. (1952) -- The migration of male melodrama into non-Western cultures : Satyajit Ray's The Apu trilogy (1955-59) and "Fourth cinema" -- Hollywood melodrama as a vehicle for self-projection : Vincente Minnelli's Tea and sympathy (1956) and Home from the hill (1960) -- The political turns personal : Neo-Neorealism and Pier Paolo Pasolini's Accattone (1961) -- Personal cinema as psychodrama : Ingmar Bergman's Wild strawberries (1957), Winter light (1963) and Hour of the wolf (1968) -- François Truffaut and the tyranny of romantic obsession : The soft skin (1964), Mississippi mermaid (1969) and The woman next door (1981) -- Figuring an authorial fantasmatic : Jacques Demy's The umbrellas of Cherbourg (1964), A room In town (1982) and Parking (1985) -- 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) -- Visual aestheticism and the queer prestige melodrama : Call me by your name (2017) and Luca Guadagnino's Desire trilogy Melodrama Film (DE-588)4169389-9 gnd Männlichkeit Motiv (DE-588)4372433-4 gnd |
subject_GND | (DE-588)4169389-9 (DE-588)4372433-4 |
title | Melodrama, masculinity and international art cinema |
title_auth | Melodrama, masculinity and international art cinema |
title_exact_search | Melodrama, masculinity and international art cinema |
title_exact_search_txtP | Melodrama, masculinity and international art cinema |
title_full | Melodrama, masculinity and international art cinema Alistair Fox |
title_fullStr | Melodrama, masculinity and international art cinema Alistair Fox |
title_full_unstemmed | Melodrama, masculinity and international art cinema Alistair Fox |
title_short | Melodrama, masculinity and international art cinema |
title_sort | melodrama masculinity and international art cinema |
topic | Melodrama Film (DE-588)4169389-9 gnd Männlichkeit Motiv (DE-588)4372433-4 gnd |
topic_facet | Melodrama Film Männlichkeit Motiv |
work_keys_str_mv | AT foxalistair melodramamasculinityandinternationalartcinema |