September 21, 2020
Download Ebook Free Film Genre And David Fincher S Gone Girl

Film Genre and David Fincher's Gone Girl

Author : Emily Vanleuvan
Publsiher :
Release Date :
Category :
Total pages :110

Current Debates in Film & Media Studies

Author : Emrah Doğan
Publsiher :
Release Date :
Category :
Total pages :76

This book, prepared within the scope of current debates in social sciences, explores significant researches made in both film and media studies in parallel with the acceleration in interdisciplinary studies. In the field of film studies, some of the themes represented in the film are evaluated by using qualitative critical analysis, but the directors' view of cinema is filtered through a critical filter. In the media section, internet self-efficacy based on the aims of using social media, digital literacy levels and innovative personality profiles of young people in the rapidly developing new communication technologies are examined.

The Nasty Woman and The Neo Femme Fatale in Contemporary Cinema

Author : Agnieszka Piotrowska
Publsiher :
Release Date :
Category :
Total pages :122

The Nasty Woman and the Neo Femme Fatale in Contemporary Cinema puts forward the theoretical notion of the ‘nasty woman’ as a means of examining female protagonists in contemporary culture and cinema, particularly films directed by women. The phrase is taken from an insult thrown at Hillary Clinton during the 2016 Presidential election debates and reclaimed by the feminists worldwide. The volume also draws from the figure of the femme fatale in film noir. Piotrowska presents ‘the nasty woman’ across cultural and mythical landscape as a figure fighting against the entitlement of the patriarchy. The writer argues that in films such as Zero Dark Thirty, Red Road, Stories We Tell, and even Gone Girl the ‘nastiness’ of female characters creates a new space for reflection on contemporary society and its struggles against patriarchal systems. The nasty woman or neo femme fatale is a figure who disrupts stable situations and norms; she is pro-active and self-determining, and at times unafraid to use dubious means to achieve her goals. She is often single, but when married she subverts and undermines the fundamental principles of this patriarchal institution. For students and researchers in Cultural Studies, Women’s, Gender and Sexuality Studies, Film Studies and Psychoanalysis in Film Studies, The Nasty Woman and the Neo Femme Fatale in Contemporary Cinema offers an original way of thinking about female creativity and subjectivity. It is also a proud celebration of feminist and female authorship in contemporary Hollywood.

Women Who Kill

Author : David Roche,Cristelle Maury
Publsiher :
Release Date :
Category :
Total pages :368

Women Who Kill explores several lines of inquiry: the female murderer as a figure that destabilizes order; the tension between criminal and victim; the relationship between crime and expression (or the lack thereof); and the paradox whereby a crime can be both an act of destruction and a creative assertion of agency. In doing so, the contributors assess the influence of feminist, queer and gender studies on mainstream television and cinema, notably in the genres (film noir, horror, melodrama) that have received the most critical attention from this perspective. They also analyse the politics of representation by considering these works of fiction in their contexts and addressing some of the ambiguities raised by postfeminism. The book is structured in three parts: Neo-femmes Fatales; Action Babes and Monstrous Women. Films examined include White Men Are Cracking Up (1994); Hit & Miss (2012); Gone Girl (2014); Terminator (1984); The Walking Dead (2010); Mad Max: Fury Road (2015); Contagion (2011) and Ex Machina(2015) among others.

Gone Girl

Author : Gillian Flynn
Publsiher :
Release Date :
Category :
Total pages :422

For use in schools and libraries only. When a woman goes missing on her fifth wedding anniversary, her diary reveals hidden turmoil in her marriage, while her husband, desperate to clear himself of suspicion, realizes that something more disturbing than murder may have occurred.

Seduction in Popular Culture, Psychology, and Philosophy

Author : Martins, Constantino,Damásio, Manuel
Publsiher :
Release Date :
Category :
Total pages :332

Seduction is a complicated concept that is a part of the general human experience. Despite the prevalence of seduction in our personal lives as well as within popular culture, the concept has not been widely discussed and researched as an academic field. Seduction in Popular Culture, Psychology, and Philosophy explores the concept of seduction and the many ways it can be understood, either as a social and individual practice, a psychological trait, or a schema for manipulation. Taking a cross-disciplinary approach, this publication features research-based chapters relevant to sociologists, media professionals, psychologists, philosophers, advertising professionals, researchers, and graduate level students studying in related areas.

Postfeminist Whiteness

Author : Kendra Marston
Publsiher :
Release Date :
Category :
Total pages :224

Kendra Marston interrogates representations of melancholic white femininity in contemporary Hollywood cinema, arguing that the 'melancholic white woman' serves as a vehicle through which to explore the excesses of late capitalism and a crisis of faith in the American dream.

David Fincher

Author : Laurence F. Knapp
Publsiher :
Release Date :
Category :
Total pages :224

David Fincher (b. 1962) did not go to film school and hates being defined as an auteur. He prefers to see himself as a craftsman, dutifully going about the art and business of making film. Trouble is, it’s hard to be self-effacing when you are the director responsible for Se7en, Fight Club, and The Social Network. Along with Quentin Tarantino, Fincher is the most accomplished of the Generation X filmmakers to emerge in the early 1990s. This collection of interviews highlights Fincher’s unwavering commitment to his craft as he evolved from an entrepreneurial music video director (Fincher helped Madonna become the undisputed queen of MTV) into an enterprising feature filmmaker. Fincher landed his first Hollywood blockbuster at twenty-seven with Alien3, but that film, handicapped by cost overruns and corporate mismanagement, taught Fincher that he needed absolute control over his work. Once he had it, with Se7en, he achieved instant box-office success and critical acclaim, as well as a close partnership with Brad Pitt that led to the cult favorite Fight Club. Fincher became circumspect in the 2000s after Panic Room, shooting ads and biding his time until Zodiac, when he returned to his mantra that “entertainment has to come hand in hand with a little bit of medicine. Some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” Zodiac reinvigorated Fincher, inspiring a string of films—The Curious Case of Benjamin Button, The Social Network, and The Girl with the Dragon Tattoo—that enthralled audiences and garnered his films dozens of Oscar nominations.

The Philosophy of Film Noir

Author : Mark T. Conard,Robert Porfirio
Publsiher :
Release Date :
Category :
Total pages :248

From The Maltese Falcon (1941) to Touch of Evil (1958), the classic film noir is easily recognizable for its unusual lighting, sinister plots, and feeling of paranoia. For critics and fans alike, these films defined an era. The Philosophy of Film Noir explores philosophical themes and ideas inherent in classic noir and neo-noir films, establishing connections to diverse thinkers ranging from Camus to the Frankfurt School. The authors, each focusing on a different aspect of the genre, explore the philosophical underpinnings of classic films such as The Big Sleep (1946), Out of the Past (1947), and Pulp Fiction (1994). They show how existentialism and nihilism dominate the genre as they explore profound themes in a vital area of popular culture.

The Suspense Thriller

Author : Charles Derry
Publsiher :
Release Date :
Category :
Total pages :360

This book is a comprehensive study of one of the most popular genres in the cinema. From a perspective sympathetic to popular culture, this study analyzes a large number of primarily American and European films by a variety of distinguished directors, including Alfred Hitchcock, Claude Chabrol, John Frankenheimer, Michelangelo Antonioni, and Costa-Gavras. Indispensable to anyone interested in understanding how suspense thrillers work and what they mean, this book provides insightful analysis of hundreds of memorable films, while at the same time working as a virtual how-to manual for anyone trying to write a Hitchcock-like thriller. The first section of the book is primarily theoretical. It offers a bibliographical survey and then explains why we so profoundly enjoy these suspenseful films of murder and intrigue. A chapter on “Thrills: or, How Objects and Empty Spaces Compete to Threaten Us” explores the psychological concept of the thrill and relates it to the psyche of the spectator. To what extent does the suspense thriller represent a symbolic and vicarious experience of danger? A chapter on “Suspense That Makes the Spectator Take a Breath” explores the crucial narrative concept of suspense and relates it to the psychological mechanisms of anxiety incited in the spectator. Why do we like to be scared? A final theoretical chapter offers a dynamic definition of the suspense thriller derived in part from Edgar Allan Poe and based primarily on content analysis. The second section of the book is more of an historical survey and devotes one chapter to each of the suspense thriller’s primary sub-genres. These chapters provide close readings of more than 150 major films and detailed analysis of the suspense thriller’s conventions, themes, and recurrent iconography. Sub-genres include The Postman Always Rings Twice, Body Heat, The Manchurian Candidate, The China Syndrome, Missing, The Passenger, Spellbound, Obsession, Marathon Man and Blue Velvet. A final chapter explores areas for further research and offers concluding insights.

Women in Film Noir

Author : E. Ann Kaplan,E. ... Ann Kaplan,Department of English E Ann Kaplan
Publsiher :
Release Date :
Category :
Total pages :238

No Marketing Blurb

Save the Cat

Author : Blake Snyder
Publsiher :
Release Date :
Category :
Total pages :216

This ultimate insider's guide reveals the secrets that none dare admit, told by a show biz veteran who's proven that you can sell your script if you can save the cat!

Sharp Objects

Author : Gillian Flynn
Publsiher :
Release Date :
Category :
Total pages :272

AN HBO® LIMITED SERIES STARRING AMY ADAMS FROM THE #1 NEW YORK TIMES BESTSELLING AUTHOR OF GONE GIRL Fresh from a brief stay at a psych hospital, reporter Camille Preaker faces a troubling assignment: she must return to her tiny hometown to cover the murders of two preteen girls. For years, Camille has hardly spoken to her neurotic, hypochondriac mother or to the half-sister she barely knows: a beautiful thirteen-year-old with an eerie grip on the town. Now, installed in her old bedroom in her family's Victorian mansion, Camille finds herself identifying with the young victims—a bit too strongly. Dogged by her own demons, she must unravel the psychological puzzle of her own past if she wants to get the story—and survive this homecoming.

Chick Flicks

Author : Associate Professor of Liberal Arts Suzanne Ferriss,Suzanne Ferriss,Mallory Young
Publsiher :
Release Date :
Category :
Total pages :272

From An Affair to Remember to Legally Blonde, "chick flicks" have long been both championed and vilified by women and men, scholars and popular audiences. Like other forms of "chick culture," which the editors define as a group of mostly American and British popular culture media forms focused primarily on twenty- to thirtysomething, middle-class—and frequently college-educated—women, chick flicks have been accused of reinscribing traditional attitudes and reactionary roles for women. On the other hand, they have been embraced as pleasurable and potentially liberating entertainments, assisting women in negotiating the challenges of contemporary life. A companion to the successful anthology Chick Lit: The New Woman’s Fiction, this edited volume consists of 11 original essays, prefaced by an introduction situating chick flicks within the larger context of chick culture as well as women’s cinema. The essays consider chick flicks from a variety of angles, touching on issues of film history, female sexuality (heterosexual and homosexual), femininity, female friendship, age, race, ethnicity, class, consumerism, spectatorship, pleasure and gender definition. An afterword by feminist film theorist Karen Hollinger considers the chick flick’s transformation from the woman’s films of the ’40s to the friendship films of the ’80s and those of the "return to the classics" trend of the ’90s, while highlighting the value of the volume’s contributions to contemporary debates and sketching possibilities for further study.

The Introspective Realist Crime Film

Author : Luis M. García-Mainar
Publsiher :
Release Date :
Category :
Total pages :207

This book explores the formal and thematic conventions of crime film, the contexts in which these have flourished and their links with the social issues of a globalized world. The crime film has traditionally been identified with suspense, a heterogeneous aesthetic and a tacit social mind. However, a good number of the crime films produced since the early 2000s have shifted their focus from action or suspense and towards melodrama in narratives that highlight the social dimension of crime, intensify their realist aesthetics and dwell on subjectivity. With the 1940s wave of Hollywood semi-documentary crime films and 1970s generic revisionism as antecedents, these crime films find inspiration in Hollywood cinema and constitute a transnational trend. With a close look at Steven Soderbergh’s Traffic (2000), David Fincher’s Zodiac (2007), Jacques Audiard’s Un prophète (2009) and Tomas Alfredson’s Tinker Tailor Soldier Spy (2011), this book sets out the stylistic and thematic conventions, contexts and cultural significance of a new transnational trend in crime film.

Sorry, but nothing matched your search terms. Please try again with some different keywords.