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Shades of Noir by Joan Copjec (1993, Trade Paperback)
USD9,95
Aproximadamente8,50 EUR
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Estado:
En muy buen estado
Libro que se ha leído y que no tiene un aspecto nuevo, pero que está en un estado excelente. No hay desperfectos visibles en la tapa y se incluye sobrecubierta, si procede, para las tapas duras. Todas las páginas están en perfecto estado, sin arrugas ni roturas y no falta ninguna. El texto no está subrayado ni resaltado de forma alguna, y no hay anotaciones en los márgenes. Puede presentar marcas de identificación mínimas en la contraportada o las guardas. Muy poco usado. Consulta el anuncio del vendedor para obtener más información y la descripción de cualquier posible imperfección.
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Envío:
USD5,95 (aprox. 5,08 EUR) USPS Media MailTM.
Ubicado en: Barron, Wisconsin, Estados Unidos
Entrega:
Entrega prevista entre el mar. 19 ago. y el lun. 25 ago. a 94104
Devoluciones:
30 días para devoluciones. El comprador paga el envío de la devolución..
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N.º de artículo de eBay:297022555593
Características del artículo
- Estado
- ISBN
- 9780860916253
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Product Identifiers
Publisher
Verso Books
ISBN-10
0860916251
ISBN-13
9780860916253
eBay Product ID (ePID)
192495
Product Key Features
Book Title
Shades of Noir
Number of Pages
320 Pages
Language
English
Topic
Film / Genres / Crime, Film / History & Criticism
Publication Year
1993
Illustrator
Yes
Genre
Performing Arts
Format
Trade Paperback
Dimensions
Item Height
0.9 in
Item Weight
27.7 Oz
Item Length
8.6 in
Item Width
7.7 in
Additional Product Features
Intended Audience
Trade
LCCN
93-021185
Dewey Edition
20
Grade From
College Freshman
Dewey Decimal
791.436
Synopsis
For this was the summer when, after the hiatus of the Second World War, French critics were again given the opportunity to view films from Hollywood. The films they saw, including The Maltese Falcon, Double Indemnity. Laura, Murder, My Sweet , and The Woman in the Window , prompted the naming and theorization of a new phenomenon: film noir . Much of what has been written about the genre since has remained within the orbit of this preliminary assessment. While sympathetic towards the early French critics, this collection of original essays attempts to move beyond their first fascinated look. Beginning with an autonomy of that look.of the . poujadist . climate that nourished it and the imminent collapse of the Hollywood studio system that gave it its mournful inflection. Shades of Noir re-explores and calls into question the object first constructed by it. The impetus for this shift in perspective comes from the films themselves, viewed in the light of contemporary social and political concerns, and from new theoretical insights. Several contributions analyze the re-emergence of noir in recent years, most notably in the hybrid forms produced in the 1980s by the merging of noir with science fiction and horror, for example Blade Runner and Angel Heart , and in films by black directors such as Deep Cover, Straight out of Brooklyn, A Rage in Harlem and One False Move . Other essays focus on the open urban territory in which the noir hero hides out; the office spaces in Chandler , and the palpable sense of waiting that fills empty warehouses, corridors and hotel rooms. Finally, Shades of Noir pays renewed attention to the lethal relation between the sexes; to the femme fatale and the other women in noir. As the role of women expands, the femme fatale remains deadly, but her deadliness takes on new meanings. Contributors: Janet Bergstrom, Joan Copjec, Elizabeth Cowie, Manthia Diawara, Frederic Jameson, Dean MacCannel, Fred Pfeil, David Reid and Jayne L. Walker, Marc Vernet, Slavoj .i.ek., Paris, summer 1946: this moment marks an important event in cinema history, not of production but of exhibition., For this was the summer when, after the hiatus of the Second World War, French critics were again given the opportunity to view films from Hollywood. The films they saw, including The Maltese Falcon, Double Indemnity. Laura, Murder, My Sweet , and The Woman in the Window , prompted the naming and theorization of a new phenomenon: film noir . Much of what has been written about the genre since has remained within the orbit of this preliminary assessment. While sympathetic towards the early French critics, this collection of original essays attempts to move beyond their first fascinated look. Beginning with an autonomy of that look--of the ' poujadist ' climate that nourished it and the imminent collapse of the Hollywood studio system that gave it its mournful inflection-- Shades of Noir re-explores and calls into question the object first constructed by it. The impetus for this shift in perspective comes from the films themselves, viewed in the light of contemporary social and political concerns, and from new theoretical insights. Several contributions analyze the re-emergence of noir in recent years, most notably in the hybrid forms produced in the 1980s by the merging of noir with science fiction and horror, for example Blade Runner and Angel Heart , and in films by black directors such as Deep Cover, Straight out of Brooklyn, A Rage in Harlem and One False Move . Other essays focus on the open urban territory in which the noir hero hides out; the office spaces in Chandler , and the palpable sense of waiting that fills empty warehouses, corridors and hotel rooms. Finally, Shades of Noir pays renewed attention to the lethal relation between the sexes; to the femme fatale and the other women in noir. As the role of women expands, the femme fatale remains deadly, but her deadliness takes on new meanings. Contributors: Janet Bergstrom, Joan Copjec, Elizabeth Cowie, Manthia Diawara, Frederic Jameson, Dean MacCannel, Fred Pfeil, David Reid and Jayne L. Walker, Marc Vernet, Slavoj Zizek.
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