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Hommes dans le cinéma --- Mannen in de film --- Men in motion pictures --- Role selon le sexe dans le cinéma --- Sex role in motion pictures --- Sexuele rolpatronen in de film --- Cinéma --- Rôle selon le sexe --- Hommes -- Au cinéma --- Men in motion pictures. --- Sex role in motion pictures. --- Thèmes, motifs --- Au cinéma --- Barrymore, John, --- Valentino, Rudolph, --- Chaney, Lon, --- Fairbanks, Douglas, --- Thèmes, motifs. --- Au cinéma.
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This is the first full-length study of masculinity in Stalinist Soviet cinema. A detailed analysis of Stalinist discourse examines the imagined relationship between the patriarch Stalin and his "model sons" in the key genre cycles of the era: from the capital to the collective farms, and ultimately to the very borders of the Soviet state. Informed by contemporary and present day debates over the social and cultural significance of cinema and masculinity, this book draws on a range of theoretical and comparative material to produce engaging and accessible readings accounting for both the appeal of--and the inherent potential for subversion within--films produced by the Stalinist culture industry.
Hommes dans le cinéma --- Mannelijkheid in de film --- Mannen in de film --- Masculinity in motion pictures --- Masculinité dans le cinéma --- Men in motion pictures --- Role selon le sexe dans le cinéma --- Sex role in motion pictures --- Sexuele rolpatronen in de film --- Motion pictures --- Masculinity in motion pictures. --- Men in motion pictures. --- Sex role in motion pictures. --- History. --- History --- Soviet Union
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Hollywood has recently devoted big budgets and established stars to films about controversial issues, while previously marginal identities have come into prominence. The authors examine the issues these developments raise, bringing together debates in identity politics with film studies.
Motion pictures --- Gender identity in motion pictures --- Geslachtsidentiteit in de film --- Identité sexuelle dans le cinéma --- Minorities in films --- Minorities in motion pictures --- Role selon le sexe dans le cinéma --- Sex role in motion pictures --- Sexuele rolpatronen in de film --- Film --- United States --- Sex role in motion pictures. --- Ethnicity in motion pictures. --- History. --- United States of America
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Bioscooppubliek --- Film audiences --- Motion picture audiences --- Public de cinéma --- Role selon le sexe dans le cinéma --- Sex role in motion pictures --- Sexuele rolpatronen in de film --- Sex role in motion pictures. --- Horror films --- Motion picture audiences. --- History and criticism. --- History and criticism --- Horror films - History and criticism.
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Love in motion pictures. --- Romantic comedy films --- History and criticism. --- Love in motion pictures --- Man-vrouw relaties in de film --- Man-woman relationships in motion pictures --- Marriage in motion pictures --- Relations entre hommes et femmes dans le cinema --- Role selon le sexe dans le cinéma --- Sekse in de film --- Sex in de film --- Sex in motion pictures --- Sex in motion-pictures --- Sex in moving-pictures --- Sex role in motion pictures --- Sexe au cinéma --- Sexe dans le cinéma --- Sexe dans les films --- Sexuele rolpatronen in de film --- History and criticism --- Comedy films --- United States --- Homosexuality in motion pictures
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Bound to Bond: Gender, Genre, and the Hollywood Romantic Comedy looks at gender roles in a unique way--by examining what the last thirty years of romantic comedy films have argued, reflected, and implied. Mark Rubinfeld contends that, essentially, we are what we see, and by identifying four basic plots of the genre, representing four basic love stories, he studies the implications of filmic depictions of male/female relationships. Cultural changes that have transformed our society since 1970 are seen here as we see them on the silver screen, and the author analyzes notable examples of the genre with a rigorous sociological perspective. What he reveals may be surprising: during the seventies and, to an extent, the early eighties, the plot conventions of Hollywood romantic comedy seemed to challenge, rather than reinforce, existing gender stereotypes. Later, however--during what should have been a more "enlightened" time--the genre reversed course, reverting to more traditional "types" for men and women alike.
Love in motion pictures --- Role selon le sexe dans le cinéma --- Sex role in motion pictures --- Sexuele rolpatronen in de film --- Romantic comedy films --- Love in motion pictures. --- Sex role in motion pictures. --- Comédies romantiques (cinéma) --- Amour au cinéma --- Rôle selon le sexe au cinéma --- History and criticism. --- Histoire et critique --- 305 --- 791.43 <73> --- 791.43.04-055.2 --- Motion pictures --- Romantic comedies (Motion pictures) --- Romcoms (Motion pictures) --- Comedy films --- Genderstudies. Rol van de sekse. Gender. Personen vanuit interdisciplinair gezichtspunt --- Filmkunst. Films. Cinema--Verenigde Staten van Amerika. VSA. USA --- De vrouw in de film --- 791.43.04-055.2 De vrouw in de film --- 791.43 <73> Filmkunst. Films. Cinema--Verenigde Staten van Amerika. VSA. USA --- 305 Genderstudies. Rol van de sekse. Gender. Personen vanuit interdisciplinair gezichtspunt --- Comédies romantiques (cinéma) --- Amour au cinéma --- Rôle selon le sexe au cinéma --- History and criticism --- United States
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