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791.43:003 --- Film noir --- -Popular culture --- #SBIB:309H524 --- #SBIB:309H040 --- #SBIB:316.346H00 --- 791.43:003 Semiotiek in de film --- Semiotiek in de film --- Cinéma noir --- Dark crime films --- Film noirs --- Films noirs --- Noir films --- Crime films --- History and criticism --- Audiovisuele communicatie: semiotiek --- Populaire cultuur algemeen --- Man-vrouw-studies, gender: algemeen --- History. --- Histoire --- Popular culture --- 791.41 --- film --- filmgeschiedenis --- film noir --- filmtheorie --- twintigste eeuw --- Verenigde Staten --- CDL
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Discussing the diversity and cultural significance of Film Noir, Krutnik examines films such as The Maltese Falcon, Double Indemnity and analyses the `tough' thriller in terms of its role in reaffirming a disrupted masculine order.
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Steve Neale and Frank Krutnik take as their starting point the remarkable diversity of comedy's forms and modes - feature-length narratives, sketches and shorts, sit-com and variety, slapstick and romance. Relating this diversity to the variety of comedy's basic conventions - from happy endings to the presence of gags and the involvement of humour and laughter - they seek both to explain the nature of these forms and conventions and to relate them to their institutional contexts. They propose that all forms and modes of the comic involve deviations from aesthetic and cultural conventions and n
791.43-1 --- Comedy films --- Comic, The --- Television comedies --- #SBIB:309H1326 --- Comedies, Television --- Comedy programs --- Comedy programs, Television --- Comedy television programs --- Television comedy programs --- Television programs --- Ludicrous, The --- Ridiculous, The --- Comedy --- Wit and humor --- 791.43-1 Filmkunst. Films. Cinema--?-1 --- Filmkunst. Films. Cinema--?-1 --- History and criticism. --- History. --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- Comic, The. --- History and criticism --- History --- CDL --- 791.43
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Steve Neale and Frank Krutnik take as their starting point the remarkable diversity of comedy's forms and modes - feature-length narratives, sketches and shorts, sit-com and variety, slapstick and romance. Relating this diversity to the variety of comedy's basic conventions - from happy endings to the presence of gags and the involvement of humour and laughter - they seek both to explain the nature of these forms and conventions and to relate them to their institutional contexts. They propose that all forms and modes of the comic involve deviations from aesthetic and cultural conventions and n
Comedy films. --- Comedy films--History and criticism. --- Comic, The. --- History. --- Television comedies. --- Television comedies--History. --- Comedy films --- Television comedies --- Comic, The --- Film --- Music, Dance, Drama & Film --- Ludicrous, The --- Ridiculous, The --- Comedy --- Wit and humor --- Comedies, Television --- Comedy programs --- Comedy programs, Television --- Comedy television programs --- Television comedy programs --- Television programs --- History and criticism --- Comedy films - History and criticism --- Television comedies - History --- History and criticism.
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Blacklisting of entertainers --- Listes noires d'artistes du spectacle --- Blacklisting of entertainers. --- Motion pictures --- Cinéma --- Political aspects --- Aspect politique --- United States
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Uitgave ter gelegenheid van het zevende Cinemathema-festival waarin het Amerikaanse filmgenre uit de jaren veertig en vijftig besproken wordt.
film --- Verenigde Staten --- twintigste eeuw --- 791.43 --- Ulmer Edgar G. --- Lewis Joseph H. --- Kerr Paul --- Cain James M. --- Wilder Billy --- Mann Anthony --- Tourneur Jacques --- film noir --- Film --- Ulmer Edgar G --- Lewis Joseph H --- Cain James M
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