MARC Record from marc_columbia

LEADER: 02009cam a2200313Mi 4500
001 10392701
005 20130916231352.0
008 130210s2013 enk b 001 0 eng d
020 $a9781841507248 (pbk.)
020 $a1841507245 (pbk.)
024 $a60001806416
035 $a(OCoLC)ocn851694455
035 $a(OCoLC)851694455
035 $a(NNC)10392701
040 $aERL$beng$erda$cERL$dOCLCO$dSTF$dNhCcYBP
050 4 $aPN1995.9.C66$bF74 2013
082 04 $a791.436556$223
100 1 $aFreedman, Carl Howard,$eauthor.
245 10 $aVersions of Hollywood crime cinema :$bstudies in Ford, Wilder, Coppola, Scorsese, and others /$cCarl Freedman.
264 1 $aBristol :$bIntellect,$c2013.
300 $ax, 189 pages ;$c23 cm
336 $atext$2rdacontent
337 $aunmediated$2rdamedia
338 $avolume$2rdacarrier
504 $aIncludes bibliographical references and index.
520 8 $aThis title features highly original readings that shed new light on familiar movies. It is an unifying and largely original Marxist perspective that offers a fresh look at social relations as expressed in Hollywood cinema. It is a new construction of the category of the crime film, supported by an understanding of the importance of crime and crime cinema in cinema and society as a whole. No society is without crime, prompting Nathaniel Hawthorne's narrator to make his famous statement in 'The Scarlet Letter' that, however high its hopes are, no civilization can fail to allot a portion of its soil as the site of a prison. By establishing the category of crime - by drawing a line between the lawful and criminal, however thin, blurry, or even effectively meaningless the line may in practice become - society offers its own perhaps most consequential self-definition. Film, argues Carl Freedman, is an especially fruitful medium for considering questions like these.
650 0 $aCrime films$xHistory and criticism.
852 00 $bglx$hPN1995.9.C66$iF74 2013
852 00 $bbar$hPN1995.9.C66$iF74 2013