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Love in motion pictures. --- Romance films. --- Chick flicks --- Love films --- Hollywood romance films --- Romance (Motion pictures) --- Romance movies --- Romance pictures (Motion pictures) --- Romantic films --- Romantic movies --- Motion pictures

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This book explores a range of popular film genres throughout American history and uncovers the ways that sound is related to the depiction of gender in each.

Gender identity in motion pictures. --- Film genres. --- Motion pictures --- Women in motion pictures. --- Road films --- Romance films --- Chick flicks --- Love films --- Hollywood romance films --- Romance (Motion pictures) --- Romance movies --- Romance pictures (Motion pictures) --- Romantic films --- Romantic movies --- Road movies --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Genre films --- Genres, Film --- Motion picture genres --- Sound effects. --- History and criticism. --- History and criticism --- Plots, themes, etc. --- American literature. --- English literature --- Agrarians (Group of writers)

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"When Head-On (Gegen die Wand, 2004) won the Golden Bear at the Berlin International Film Festival, it was hailed as a turning point for German cinema. Not only was this unconventional love story the first German film in eighteen years to win the prestigious award, but the success of writer-director Fatih Akin was also celebrated as the revival of German auteur cinema. Meanwhile Turkey claimed Akin as its own prodigal son and his film a victory for Turkish cinema. Daniela Berghahn provides a detailed and entertaining account of the film's artistic inspirations, its production history and the debates that surrounded it in the German and Turkish press. Arguing that much of the media discourse on Turkish German identity politics detracted from Akin's remarkable artistic achievement, Berghahn instead situates Head-On in the critical contexts of global art cinema and transnational melodrama. This comparative approach excavates new layers of meaning and offers highly original insights into Akin's landmark film."--Bloomsbury Publishing.

Motion pictures and transnationalism --- #SBIB:309H1320 --- #SBIB:309H1321 --- Transnationalism and motion pictures --- Transnationalism --- De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land) --- Films met een amusementsfunctie en/of esthetische functie: algemeen --- Akin, Fatih, --- Criticism and interpretation. --- Gegen die Wand (Motion picture) --- Head-on (Motion picture) --- Motion pictures --- Romance films --- Chick flicks --- Love films --- Hollywood romance films --- Romance (Motion pictures) --- Romance movies --- Romance pictures (Motion pictures) --- Romantic films --- Romantic movies

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"This book is a timely intervention that explores how generic conventions from the Western and notions of romance have been used in canonical Euro-American cinema to shore up a Eurocentric view of the non-Western world. Films from Lawrence of Arabia (1962) to Indochine (1992) are unpacked to reveal the politics of gender, race, geography, and romance at play in mainstream images built on colonial legacies." --Michael W. Thomas, co-editor of Cine-Ethiopia: The History and Politics of Film in the Horn of Africa (2018), SOAS University of London, UK This book asserts the existence of the "Eastern" as an analytically significant genre of film. Positioned in counterpoint to the Western, the famed cowboy genre of the American frontier, the “Eastern” encompasses films that depict the eastern and southern frontiers of Euro-American expansion. Examining six films in particular—Gunga Din (1939), Lawrence of Arabia (1962), Heat and Dust (1983), A Passage to India (1984), Indochine (1992), and The English Patient (1996)—the author explores the duality of the "Eastern" as both assertive and seductive, depicting conquest and romance at the same time. In juxtaposing these two elements, the book seeks to reveal the double process by which the “Eastern” both diminishes the "East" and Global South and reinforces ignorance about these regions’ histories and complexity, thereby setting the stage for ever-escalating political aggression. Nalini Natarajan is Professor of English at the University of Puerto Rico, Rio Piedras, Puerto Rico. She is the author of six books, including The Atlantic Gandhi: The Mahatma Overseas (2012) and The Unsafe Sex: The Female Binary and Public Violence against Women (2016).

Film genres. --- Popular Culture. --- Motion pictures. --- Motion pictures—United States. --- Communication. --- Genre. --- Popular Culture . --- Close Reading. --- American Cinema and TV. --- Media and Communication. --- Communication, Primitive --- Mass communication --- Sociology --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Intellectual life --- Mass society --- Recreation --- Culture --- Genre films --- Genres, Film --- Motion picture genres --- Motion pictures --- History and criticism --- Plots, themes, etc. --- Romance films --- Action and adventure films --- History --- Action-adventure films --- Action cinema --- Action films --- Action movies --- Adventure and action films --- Adventure films --- Adventure movies --- Swashbuckler films --- Chick flicks --- Love films --- Hollywood romance films --- Romance (Motion pictures) --- Romance movies --- Romance pictures (Motion pictures) --- Romantic films --- Romantic movies --- Asians in motion pictures.

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This book is the first comprehensive and systematic study of cross-class romance films throughout the history of American cinema. It provides vivid discussions of these romantic films, analyses their normative patterns and thematic concerns, traces how they were shaped by inequalities of gender and class in American society, and explains why they were especially popular from World War I through the roaring twenties and the Great Depression. In the vast majority of cross-class romance films the female is poor or from the working class, the male is wealthy or from the upper class, and the romance ends successfully in marriage or the promise of marriage.

Love in motion pictures. --- Marriage in motion pictures. --- Weddings in motion pictures. --- 791.43 <09> --- 791.43.04-055.2 --- 791.43.04-055.2 De vrouw in de film --- De vrouw in de film --- 791.43 <09> Filmgeschiedenis. Filmhistorie --- Filmgeschiedenis. Filmhistorie --- Motion pictures --- Marriage in moving-pictures --- Culture --- Film genres. --- Sociology. --- Sex (Psychology). --- Gender expression. --- Gender identity. --- Cultural and Media Studies. --- American Cinema. --- Genre. --- Gender Studies. --- Sex identity (Gender identity) --- Sexual identity (Gender identity) --- Identity (Psychology) --- Sex (Psychology) --- Queer theory --- Expression, Gender --- Sex role --- Psychology, Sexual --- Sex --- Sexual behavior, Psychology of --- Sexual psychology --- Sensuality --- Social theory --- Social sciences --- Genre films --- Genres, Film --- Motion picture genres --- Cultural studies --- Study and teaching. --- United States. --- Psychological aspects --- Plots, themes, etc. --- Love --- History. --- Philosophy. --- History and criticism --- Motion pictures-United States. --- American Cinema and TV. --- Motion pictures—United States. --- Love in motion pictures --- Marriage in motion pictures --- Weddings in motion pictures --- Romance films --- Marriage --- PERFORMING ARTS / Film / General --- Affection --- Emotions --- First loves --- Friendship --- Intimacy (Psychology) --- Married life --- Matrimony --- Nuptiality --- Wedlock --- Sacraments --- Betrothal --- Courtship --- Families --- Home --- Honeymoons --- Chick flicks --- Love films --- Hollywood romance films --- Romance (Motion pictures) --- Romance movies --- Romance pictures (Motion pictures) --- Romantic films --- Romantic movies --- In motion pictures. --- in motion pictures. --- Social classes in motion pictures.