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Meta-Narrative in the Movies investigates narrative theory through close analysis of films featuring stories and storytelling. The cinematic interpretations investigate the role of story creation in knowing ourselves and planning our future, in structuring social relationships, and in sharpening our experience of popular culture.
This book consists of a collection of critical studies on the work of the Argentine filmmaker, Eliseo Subiela. Some of these studies deal in considerable analytical depth with Subiela's principle filmic texts, overarching cinematic motifs, and literary cultural influences following a variety of approaches and styles: theoretical, mythological, Jungian, historical, philosophical, and literary. Also included in this work is an in-depth interview with the filmmaker.
Language, History, and Metanarrative in the Fiction of Julian Barnes explores the ways in which Barnes develops these themes in five of his most important works: Metroland; Before She Met Me; Flaubert's Parrot; A History of the World in 10 1/2 Chapters; and The Porcupine."--Jacket.
CSA Sociological Abstracts abstracts and indexes the international literature in sociology and related disciplines in the social and behavioral sciences. The database provides abstracts of journal articles and citations to book reviews drawn from over 1,800+ serials publications, and also provides abstracts of books, book chapters, dissertations, and conference papers.
Edited by Juli Carson. Text by Parveen Adams, Juli Carson, Gregory Ulmer.
Christopher Lloyd wächst in Metroland auf, dem Londoner Vorort, der von der Metropolitan Line bedient wird. Er und Tony gehen in die gleiche Klasse – und heben sich von den anderen Schülern ab, indem sie sich in Weltverachtung üben. Nach der Schule trennen sich zunächst ihre Wege: Christopher geht nach Paris, wo er in den Armen seiner ersten Freundin den Beginn der 1968er Studentenrevolution verschläft.1977 ist Christopher ruhig geworden, ein Familienmensch, während sein Freund Tony als radikaler Publizist immer noch die Verwirklichung der gemeinsamen Jugendideale einfordert.
Aesthetic Violence and Women in Film is a highly readable and timely analysis of the intersection of two recent cinematic trends in martial arts films: aesthetic violence and warrior women. Joseph Kupfer establishes specific categories of aesthetic film violence, including hyper-violence, a visual style that emphasizes the sensuous surface of physical destruction and surreal violence, when spectacular imagery and gravity-defying dance replace blood and gore. He then goes on to outline the ascendancy during the past decades of female characters to the status of hero in action films. Interweaving these two subjects, the book reveals how women warriors instigate and animate the models of aesthetic violence introduced. The hyper-violence of Kill Bill celebrates the triumphs of the Bride, whose maiming and dismemberment of enemies produce brilliant red plumes and silvered geysers of blood. The surrealistic violence in Crouching Tiger, Hidden Dragon and The House of Flying Daggers creatively elevates violence from earthbound mayhem to an enchanting aerial display of female-dominated acrobatics. Both film-stories are driven by the plight and aspirations of female combatants, suggesting an affinity between women and the transfiguration of fighting wrought by surrealistic violence. By elevating the significance of violence in action films and linking it together with the growing popularity of central female characters in this genre, Aesthetic Violence and Women in Film will be of interest to students and scholars in film studies, popular culture, gender studies, aesthetics, and social philosophy.
