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Aan het begin van de vakantie verdwijnt Elif op de scooter van haar broer. Die is woedend en schakelt al zijn vrienden in om haar te vinden. Een week later wordt de scooter aangetroffen bij een dancefeest aan het strand. Maar waar is Elif? Stanley is net in Nederland komen wonen. Hij gaat in september naar de dansacademie, een lange lege zomer ligt voor hem. Aan de overkant van de straat ziet hij een scooter staan, de sleutels er nog in. Eén ritje maken kan geen kwaad, toch? In een zinderende zomernacht worden de levens van Elif, haar broer, zijn vrienden en Stanley voor altijd verbonden. Door één pistoolschot... (Bron: flaptekst)
Weglopen --- Thrillers --- Dutch literature
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Dutch literature --- Roman thriller --- Roman à suspense --- Suspense fiction --- Suspense tales --- Tales [Suspense ] --- Thriller (Fictie) --- Thriller (Littérature) --- Thrillers (Fictie) --- Thrillers (Fiction) --- Thrillers (Littérature)
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"The Psycho Records follows the influence of the primal shower scene within subsequent slasher and splatter films. American soldiers returning from World War II were called "psychos" if they exhibited mental illness. Robert Bloch and Alfred Hitchcock turned the term into a catch-all phrase for a range of psychotic and psychopathic symptoms or dispositions. They transferred a war disorder to the American heartland. Drawing on his experience with German film, Hitchcock packed inside his shower stall the essence of schauer, the German cognate meaning "horror." Later serial horror film production has post-traumatically flashed back to Hitchcock's shower scene. In the end, though, this book argues the effect is therapeutically finite. This extensive case study summons the genealogical readings of philosopher and psychoanalyst Laurence Rickels. The book opens not with another reading of Hitchcock's 1960 film but with an evaluation of various updates to vampirism over the years. It concludes with a close look at the rise of demonic and infernal tendencies in horror movies since the 1990s and the problem of the psycho as our most uncanny double in close quarters."--Publisher's website.
film --- filmgeschiedenis --- filmtheorie --- twintigste eeuw --- Hitchcock Alfred --- Psycho --- horror --- Verenigde Staten --- film en psychoanalyse --- 791.41 --- Thrillers (Motion pictures) --- Slasher films --- Films d'horreur --- Films à suspense --- History and criticism. --- Histoire et critique --- Histoire et critique. --- Film --- Bodycount films --- Dead teenager movies --- Slashers (Motion pictures) --- Horror films --- Film thrillers --- Movie thrillers --- Psycho thrillers (Motion pictures) --- Psychological thrillers (Motion pictures) --- Psychothrillers (Motion pictures) --- Suspense films --- Thriller films --- Thriller movies --- Thrillers (Motion pictures, television, etc.) --- Motion pictures --- Crime films --- Films à suspense
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"Constance étant oisive, on va lui trouver de quoi s'occuper. Des bords de Seine aux rives de la mer Jaune, en passant par les fins fonds de la Creuse, rien ne devrait l'empêcher d'accomplir sa mission. Seul problème : le personnel chargé de son encadrement n'est pas toujours très bien organisé"--Page 4 of cover.
Spy stories, French --- Spy stories --- Cloak and dagger fiction --- Espionage --- Espionage stories --- Spies --- Spy fiction --- Spy novels --- Spy thrillers (Fiction) --- Thrillers, Spy (Fiction) --- Fiction --- French spy stories --- French fiction
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Detectives in literature. --- Detective and mystery stories --- Crime films --- Television crime shows --- Crime shows --- Crime television programs --- Criminal shows --- Criminal television programs --- Fiction television programs --- Thrillers (Television programs) --- Criminal films --- Motion pictures --- Caper films --- Thrillers (Motion pictures) --- History and criticism. --- History and criticism. --- History and criticism.
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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, intensifying 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.
Crime films --- Culture --- Film genres. --- History and criticism. --- Study and teaching. --- Genre films --- Genres, Film --- Motion picture genres --- Cultural studies --- Criminal films --- Motion pictures --- Plots, themes, etc. --- Caper films --- Thrillers (Motion pictures) --- Motion pictures-History. --- Communication. --- Genre. --- Film History. --- Media Studies. --- Communication, Primitive --- Mass communication --- Sociology --- Motion pictures—History.
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