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Sierras de cadena para hombres, mujeres y hombres: género en la película de terror moderna (libro de bolsillo o suaveb) - Imagen 1 de 1
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Sierras de cadena para hombres, mujeres y hombres: género en la película de terror moderna (libro de bolsillo o suaveb)-

Texto original
Men, Women, and Chain Saws: Gender in the Modern Horror Film (Paperback or Softb
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N.º de artículo de eBay:363589331905
Última actualización el 19 jun 2024 15:54:39 H.EspVer todas las actualizacionesVer todas las actualizaciones

Características del artículo

Estado
Nuevo: Libro nuevo, sin usar y sin leer, que está en perfecto estado; incluye todas las páginas sin ...
ISBN
0691166293
EAN
9780691166292
Binding
TP
Book Title
Men, Women, and Chain Saws : Gender in the Modern Horror Film-Updated Edition
Book Series
Princeton Classics Ser.
Publisher
Princeton University Press
Item Length
8.5 in
Publication Year
2015
Format
Trade Paperback
Language
English
Illustrator
Yes
Item Height
0.6 in
Author
Carol J. Clover
Features
Revised
Genre
Performing Arts, Social Science
Topic
Film / Genres / Horror, Film / General, Popular Culture, Film / History & Criticism
Item Weight
8 Oz
Item Width
5.5 in
Number of Pages
280 Pages

Acerca de este producto

Product Identifiers

Publisher
Princeton University Press
ISBN-10
0691166293
ISBN-13
9780691166292
eBay Product ID (ePID)
208787578

Product Key Features

Book Title
Men, Women, and Chain Saws : Gender in the Modern Horror Film-Updated Edition
Number of Pages
280 Pages
Language
English
Topic
Film / Genres / Horror, Film / General, Popular Culture, Film / History & Criticism
Publication Year
2015
Features
Revised
Illustrator
Yes
Genre
Performing Arts, Social Science
Author
Carol J. Clover
Book Series
Princeton Classics Ser.
Format
Trade Paperback

Dimensions

Item Height
0.6 in
Item Weight
8 Oz
Item Length
8.5 in
Item Width
5.5 in

Additional Product Features

Intended Audience
Trade
Preface by
Clover, Carol J.
LCCN
2015-930407
Reviews
"Fascinating, Clover has shown how the allegedly nave makers of crude films have done something more schooled directors have difficulty doing - creating females with whom male veiwers are quite prepared to identify with on the most profound levels" -- The Modern Review, Clover makes a convincing case for studying the pulp-pop excesses of 'exploitation' horror as a reflection of our psychic times. ---Misha Berson, San Francisco Chronicle, "In her reading of both particular horror films and of film and gender theory, Clover does what every cultural critic hopes to: she calls into question our habits of seeing." --Ramona Naddaff, Artforum, Fascinating, Clover has shown how the allegedly naïve makers of crude films have done something more schooled directors have difficulty doing - creating females with whom male veiwers are quite prepared to identify with on the most profound levels, "Carol Clover's compelling [book] challenges simplistic assumptions about the relationship between gender and culture. . . . She suggests that the "low tradition' in horror movies possesses positive subversive potential, a space to explore gender ambiguity and transgress traditional boundaries of masculinity and femininity." --Andrea Walsh, The Boston Globe, It's easy to see why this book is considered such a landmark in film analysis. ---Rod Lott, Flick Attack,, "Clover actually bothers (as few have done before) to go into the theaters, to sit with the horror fans, and to watch how they respond to what appears on screen." --Wendy Lesser, Washington Post, "[A] brilliant analysis of gender and its disturbances in modern horror films. . . . Bubbling away beneath Clover's multi-faceted readings of slasher, occult, and rape-revenge films is the question of what the viewer gets out of them. . . . [She] argues that most horror films are obsessed with feminism, playing out plots which climax with an image of (masculinized) female power and offering visual pleasures which are organized not around a mastering gaze, but around a more radical "victim-identified' look." --Linda Ruth Williams, Sight and Sound, [A] brilliant analysis of gender and its disturbances in modern horror films. . . . Bubbling away beneath Clover's multi-faceted readings of slasher, occult, and rape-revenge films is the question of what the viewer gets out of them. . . . [She] argues that most horror films are obsessed with feminism, playing out plots which climax with an image of (masculinized) female power and offering visual pleasures which are organized not around a mastering gaze, but around a more radical "victim-identified' look. ---Linda Ruth Williams, Sight and Sound, "It's easy to see why this book is considered such a landmark in film analysis." --Rod Lott, Flick Attack, In her reading of both particular horror films and of film and gender theory, Clover does what every cultural critic hopes to: she calls into question our habits of seeing. ---Ramona Naddaff, Artforum, "Clover makes a convincing case for studying the pulp-pop excesses of 'exploitation' horror as a reflection of our psychic times." --Misha Berson, San Francisco Chronicle, "Clover makes a convincing case for studying the pulp-pop excesses of 'exploitation' horror as a reflection of our psychic times." ---Misha Berson, San Francisco Chronicle, Clover, takes the most extreme genre, horror flicks, seriously. There is no condescension in this significant and probing discussion of psychology and sexuality and their role in lurid fantasy. ---Desmond Ryan, Philadelphia Inquirer, "Clover, takes the most extreme genre, horror flicks, seriously. There is no condescension in this significant and probing discussion of psychology and sexuality and their role in lurid fantasy." ---Desmond Ryan, Philadelphia Inquirer, "[A] brilliant analysis of gender and its disturbances in modern horror films. . . . Bubbling away beneath Clover's multi-faceted readings of slasher, occult, and rape-revenge films is the question of what the viewer gets out of them. . . . [She] argues that most horror films are obsessed with feminism, playing out plots which climax with an image of (masculinized) female power and offering visual pleasures which are organized not around a mastering gaze, but around a more radical "victim-identified' look." ---Linda Ruth Williams, Sight and Sound, "It's easy to see why this book is considered such a landmark in film analysis." ---Rod Lott, Flick Attack,, Clover actually bothers (as few have done before) to go into the theaters, to sit with the horror fans, and to watch how they respond to what appears on screen. ---Wendy Lesser, Washington Post, Carol Clover's compelling [book] challenges simplistic assumptions about the relationship between gender and culture. . . . She suggests that the "low tradition' in horror movies possesses positive subversive potential, a space to explore gender ambiguity and transgress traditional boundaries of masculinity and femininity. ---Andrea Walsh, The Boston Globe, "Carol Clover's compelling [book] challenges simplistic assumptions about the relationship between gender and culture. . . . She suggests that the "low tradition' in horror movies possesses positive subversive potential, a space to explore gender ambiguity and transgress traditional boundaries of masculinity and femininity." ---Andrea Walsh, The Boston Globe, "In her reading of both particular horror films and of film and gender theory, Clover does what every cultural critic hopes to: she calls into question our habits of seeing." ---Ramona Naddaff, Artforum, "Fascinating, Clover has shown how the allegedly naïve makers of crude films have done something more schooled directors have difficulty doing - creating females with whom male veiwers are quite prepared to identify with on the most profound levels" -- The Modern Review, "It's easy to see why this book is considered such a landmark in film analysis." ---Rod Lott, Flick Attack, "Clover actually bothers (as few have done before) to go into the theaters, to sit with the horror fans, and to watch how they respond to what appears on screen." ---Wendy Lesser, Washington Post, "Clover, takes the most extreme genre, horror flicks, seriously. There is no condescension in this significant and probing discussion of psychology and sexuality and their role in lurid fantasy." --Desmond Ryan, Philadelphia Inquirer
Dewey Edition
23
Series Volume Number
15
CLASSIFICATION_METADATA
{"IsNonfiction":["Yes"],"IsOther":["No"],"IsAdult":["No"],"MuzeFormatDesc":["Trade Paperback"],"IsChildren":["No"],"Genre":["SOCIAL SCIENCE","PERFORMING ARTS"],"Topic":["Popular Culture","Film / History & Criticism","Film / Genres / Horror","Film / General"],"IsTextBook":["No"],"IsFiction":["No"]}
Dewey Decimal
791.436164
Edition Description
Revised edition
Synopsis
From its first publication in 1992, Men, Women, and Chain Saws has offered a groundbreaking perspective on the creativity and influence of horror cinema since the mid-1970s. Investigating the popularity of the low-budget tradition, Carol Clover looks in particular at slasher, occult, and rape-revenge films. Although such movies have been traditiona, From its first publication in 1992, Men, Women, and Chain Saws has offered a groundbreaking perspective on the creativity and influence of horror cinema since the mid-1970s. Investigating the popularity of the low-budget tradition, Carol Clover looks in particular at slasher, occult, and rape-revenge films. Although such movies have been traditionally understood as offering only sadistic pleasures to their mostly male audiences, Clover demonstrates that they align spectators not with the male tormentor, but with the females tormented--notably the slasher movie's "final girls"--as they endure fear and degradation before rising to save themselves. The lesson was not lost on the mainstream industry, which was soon turning out the formula in well-made thrillers. Including a new preface by the author, this Princeton Classics edition is a definitive work that has found an avid readership from students of film theory to major Hollywood filmmakers.
LC Classification Number
PN1995.9.H6
ebay_catalog_id
4
Copyright Date
2015

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