1992, ISBN: 9780691048024

edizione con copertina rigida

San Juan de Puerto Rico: Instituto de Cultura Puertorriquena, 1967. 2nd edition. Hardcover. Good+/None. 9X6.25X1 inches. Book is Numbered (260) of 1,000 printed.light wear to cloth cove… Altro …

San Juan de Puerto Rico: Instituto de Cultura Puertorriquena, 1967. 2nd edition. Hardcover. Good+/None. 9X6.25X1 inches. Book is Numbered (260) of 1,000 printed.light wear to cloth cover, mostly on edges,spine tight, tied binding. 332 pages small thin bottom stain to rear paste down and en leaf(tiny)text and pages not effected,pages are all very clean and unmarked This Listing Includes The Actual Picture of the book . Please email me if you need to see more pictures! The orders are processed promptly, carefully packaged and shipped within 1 day of purchase. PLEASE NOTE! if you need the book quickly, please Purchase Priority Shipping., Instituto de Cultura Puertorriquena, 1967, 2.5, Princeton, N.J.: Princeton University Press, 1992. Paperback. Very fine ; as new.. Quarto in illus black and red wraps; 260 pages : illustrations ; 25 cm; bibliographical references (pages 243-253) and index. Contents: Carrie and the boys -- Her body, himself -- Opening up -- Getting even -- The eye of horror. / "Do the pleasures of horror movies really begin and end in sadism? So the public discussion of film assumes, and so film theory claims. According to that view, the power of films like Halloween and Texas Chain Saw Massacre lies in their ability to yoke us in the killer's perspective and to make us party to his atrocities. In this book Carol Clover argues that sadism is actually the lesser part of the horror experience and that the movies work mainly to engage the viewer in the plight of the victim-hero - the figure who suffers pain and fright but eventually rises to vanquish the forces of oppression. A paradox is that, since the late 1970s, the victim-hero is usually female and the audience predominantly male. It is the fraught relation between the "tough girl" of horror and her male fan that Clover explores. Horror movies, she concludes, use female bodies not only for the male spectator to feel at, but for him to feel through. The author concentrates on three genres in which women and gender issues loom especially large: slasher films, satanic possession films, and rape-revenge films, especially those in which the victim is from the city and the rapists from the country. Her investigation covers over two hundred films, ranging from admired mainstream examples, such as The Accused, to such exploitation products as the widely banned I Spit on Your Grave. Clover emphasizes the importance of the "low" tradition in filmmaking, arguing that it has provided some of the most significant artistic and political innovations of the past two decades. Female-hero films like Silence of the Lambs and Thelma and Louise may be breakthroughs from the point of view of mainstream Hollywood cinema, but their themes have a long ancestry in lowlife horror / Horror films -- History and criticism. Women in motion pictures. Sex role in motion pictures. Films d'horreur -- Histoire et critique. Femmes au cinéma. Rôle selon le sexe au cinéma. Horror films. Sex role in motion pictures. Women in motion pictures. Frau Horrorfilm Geschlechterrolle Griezelfilms. Vrouwen. Sekseverschillen. Horror films -- History and criticism. Women in motion pictures. Sex role in motion pictures. Geschlechterrolle. Horrorfilm. Genre/Form: Criticism, interpretation, etc. Horror films -- History and criticism., Princeton University Press, 1992, 5<

1992, ISBN: 9780691048024

[PU: Princeton, N.J. : Princeton University Press], 260 S. Umschlag leicht berieben, sonst gutes Exemplar. - Do the pleasures of horror movies really begin and end in sadism? So the publi… Altro …

[PU: Princeton, N.J. : Princeton University Press], 260 S. Umschlag leicht berieben, sonst gutes Exemplar. - Do the pleasures of horror movies really begin and end in sadism? So the public discussion of film assumes, and so film theory claims. According to that view, the power of films like Halloween and Texas Chain Saw Massacre lies in their ability to yoke us in the killer's perspective and to make us party to his atrocities. In this book Carol Clover argues that sadism is actually the lesser part of the horror experience and that the movies work mainly to engage the viewer in the plight of the victim-hero- the figure who suffers pain and fright but eventually rises to vanquish the forces of oppression. A paradox is that, since the late 1970s, the victim-hero is usually female and the audience predominantly male. It is the fraught relation between the "tough girl" of horror and her male fan that Clover explores. Horror movies, she concludes, use female bodies not only for the male spectator to feel at, but for him to feel through. The author concentrates on three genres in which women and gender issues loom especially large: slasher films, satanic possession films, and rape-revenge films, especially those in which the victim is from the city and the rapists from the country. Her investigation covers over two hundred films, ranging from admired mainstream examples, such as The Accused, to such exploitation products as the widely banned Í Spit on Your Grave. Clover emphasizes the importance of the "low" tradition in filmmaking, arguing that it has provided some of the most significant artistic and political innovations of the past two decades. Female-hero films like Silence of the Lambs and Thelma and Louise may be breakthroughs from the point of view of mainstream Hollywood cinema, but their themes have a long ancestry in lowlife horror. ISBN 9780691048024, DE, [SC: 4.50], gebraucht; gut, gewerbliches Angebot, [GW: 550g], Banküberweisung, Offene Rechnung, PayPal, Internationaler Versand<

1992, ISBN: 0691048029

[EAN: 9780691048024], Gebraucht, sehr guter Zustand, [SC: 4.0], [PU: Princeton, N.J. : Princeton University Press], Jacket, 260 S. Umschlag leicht berieben, sonst gutes Exemplar. - Do the… Altro …

[EAN: 9780691048024], Gebraucht, sehr guter Zustand, [SC: 4.0], [PU: Princeton, N.J. : Princeton University Press], Jacket, 260 S. Umschlag leicht berieben, sonst gutes Exemplar. - Do the pleasures of horror movies really begin and end in sadism? So the public discussion of film assumes, and so film theory claims. According to that view, the power of films like Halloween and Texas Chain Saw Massacre lies in their ability to yoke us in the killer's perspective and to make us party to his atrocities. In this book Carol Clover argues that sadism is actually the lesser part of the horror experience and that the movies work mainly to engage the viewer in the plight of the victim-hero- the figure who suffers pain and fright but eventually rises to vanquish the forces of oppression. A paradox is that, since the late 1970s, the victim-hero is usually female and the audience predominantly male. It is the fraught relation between the "tough girl" of horror and her male fan that Clover explores. Horror movies, she concludes, use female bodies not only for the male spectator to feel at, but for him to feel through. The author concentrates on three genres in which women and gender issues loom especially large: slasher films, satanic possession films, and rape-revenge films, especially those in which the victim is from the city and the rapists from the country. Her investigation covers over two hundred films, ranging from admired mainstream examples, such as The Accused, to such exploitation products as the widely banned Í Spit on Your Grave. Clover emphasizes the importance of the "low" tradition in filmmaking, arguing that it has provided some of the most significant artistic and political innovations of the past two decades. Female-hero films like Silence of the Lambs and Thelma and Louise may be breakthroughs from the point of view of mainstream Hollywood cinema, but their themes have a long ancestry in lowlife horror. ISBN 9780691048024 Sprache: Englisch Gewicht in Gramm: 550, Books<

1992, ISBN: 9780691048024

260 S. Umschlag leicht berieben, sonst gutes Exemplar. - Do the pleasures of horror movies really begin and end in sadism? So the public discussion of film assumes, and so film theory cla… Altro …

260 S. Umschlag leicht berieben, sonst gutes Exemplar. - Do the pleasures of horror movies really begin and end in sadism? So the public discussion of film assumes, and so film theory claims. According to that view, the power of films like Halloween and Texas Chain Saw Massacre lies in their ability to yoke us in the killer's perspective and to make us party to his atrocities. In this book Carol Clover argues that sadism is actually the lesser part of the horror experience and that the movies work mainly to engage the viewer in the plight of the victim-hero- the figure who suffers pain and fright but eventually rises to vanquish the forces of oppression. A paradox is that, since the late 1970s, the victim-hero is usually female and the audience predominantly male. It is the fraught relation between the "tough girl" of horror and her male fan that Clover explores. Horror movies, she concludes, use female bodies not only for the male spectator to feel at, but for him to feel through. The author concentrates on three genres in which women and gender issues loom especially large: slasher films, satanic possession films, and rape-revenge films, especially those in which the victim is from the city and the rapists from the country. Her investigation covers over two hundred films, ranging from admired mainstream examples, such as The Accused, to such exploitation products as the widely banned Í Spit on Your Grave. Clover emphasizes the importance of the "low" tradition in filmmaking, arguing that it has provided some of the most significant artistic and political innovations of the past two decades. Female-hero films like Silence of the Lambs and Thelma and Louise may be breakthroughs from the point of view of mainstream Hollywood cinema, but their themes have a long ancestry in lowlife horror. ISBN 9780691048024 Versand D: 4,50 EUR , [PU:Princeton, N.J. : Princeton University Press,]<