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Hommes, femmes et scies à chaîne : le genre dans le film d'horreur moderne - livre de poche - BON
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- Achat immédiatHommes, femmes et scies à chaîne : le genre dans le film d'horreur moderne - livre de poche - BON
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Lieu : Montgomery, Illinois, États-Unis
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Livraison prévue entre le ven. 31 mai et le mer. 5 juin à 43230
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Numéro de l'objet eBay :255158521890
Dernière mise à jour : mai 22, 2024 10:46:31 HAEAfficher toutes les modificationsAfficher toutes les modifications
Caractéristiques de l'objet
- État
- Brand
- Unbranded
- MPN
- Does not apply
- ISBN
- 9780691006208
- Item Length
- 9.2in
- Publisher
- Princeton University Press
- Publication Year
- 1993
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.8in
- Genre
- Performing Arts
- Topic
- Film / Genres / Horror, Film / General, Film / History & Criticism
- Item Width
- 6.1in
- Item Weight
- 14 Oz
- Number of Pages
- 272 Pages
À propos de ce produit
Product Information
Do the pleasures of horror movies really begin and end in sadism? So the public discussion of film assumes, and so film theory claims. Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero, who suffers fright but rises to vanquish the forces of oppression. Clover, a medievalist, had written extensively on the literature and culture of early northern Europe, especially the Old Norse sagas. From her expertise in formulaic narrative grew her interest in contemporary cinema, which is, after all, yet another form of oral storytelling. Men, Women, and Chain Saws investigated the appeal of horror cinema, in particular the phenomenal popularity of those "low" genres that feature female heroes and play to male audiences: slasher, occult, and rape-revenge films. Such genres seem to offer sadistic pleasure to their viewers, and not much else. Clover, however, argued the reverse: that these films are designed to align spectators not with the male tormentor, but with the female tormented--with the suffering, pain, and anguish that the "final girl," as Clover calls the victim-hero, endures before rising, finally, to vanquish her oppressor. The book has found an avid readership from students of film theory to major Hollywood filmmakers, and the figure of the final girl has been taken up by a wide range of artists, inspiring not just filmmakers but also musicians and poets.
Product Identifiers
Publisher
Princeton University Press
ISBN-10
0691006202
ISBN-13
9780691006208
eBay Product ID (ePID)
1005225
Product Key Features
Format
Trade Paperback
Language
English
Topic
Film / Genres / Horror, Film / General, Film / History & Criticism
Publication Year
1993
Type
Textbook
Genre
Performing Arts
Number of Pages
272 Pages
Dimensions
Item Length
9.2in
Item Height
0.8in
Item Width
6.1in
Item Weight
14 Oz
Additional Product Features
Lc Classification Number
Pn1995.9.H6
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, "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, [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., 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., "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, Fascinating, Clover has shown how the allegedly na ve 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, 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, 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, [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, 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, "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, "[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, 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, "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, "[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
Publication Name
Men, Women, and Chain Saws : Gender in Modern Horror Film
Copyright Date
1993
Target Audience
College Audience
Dewey Decimal
791.436164
Dewey Edition
23
Illustrated
Yes
Description de l'objet du vendeur
Le vendeur assume l'entière responsabilité de cette annonce.
Numéro de l'objet eBay :255158521890
Dernière mise à jour : mai 22, 2024 10:46:31 HAEAfficher toutes les modificationsAfficher toutes les modifications
Expédition et manutention
Lieu où se trouve l'objet :
Montgomery, Illinois, États-Unis
Expédition :
Canada, Mexique, États-Unis
Lieux exclus :
Afrique, Amérique centrale et Caraïbes, Amérique du Sud, Asie, Asie du Sud-Est, Barbade, Bermudes, Europe, Groenland, Guadeloupe, Guyane française, Libye, Martinique, Moyen-Orient, Nouvelle-Calédonie, Océanie, Polynésie française, Russie, Réunion, Saint-Pierre-et-Miquelon, Ukraine, Venezuela
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| Expédition sans frais | Sans frais | États-Unis | Expédition au tarif économique (USPS Media MailTM) | Livraison prévue entre le ven. 31 mai et le mer. 5 juin à 43230 |
| 4,95 $US (environ 6,78 $C) | 4,95 $US (environ 6,78 $C) | États-Unis | Expédition standard (DGM SmartMail Expedited) | Livraison prévue entre le ven. 31 mai et le mer. 5 juin à 43230 |
| 10,95 $US (environ 15,00 $C) | 10,95 $US (environ 15,00 $C) | États-Unis | Expédition accélérée (FedEx 2Day®) | Livraison prévue entre le mer. 29 mai et le jeu. 30 mai à 43230 |
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- mai 09, 2024
Excellent -- thank you.
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