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Fatalismus im amerikanischen Film Noir: Einige filmische Philosophie von Robert B. Pippin (E-
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eBay-Artikelnr.:364504859825
Artikelmerkmale
- Artikelzustand
- ISBN-13
- 9780813931890
- Book Title
- Fatalism in American Film Noir
- ISBN
- 9780813931890
- Subject Area
- Religion, Performing Arts
- Publication Name
- Fatalism in American Film Noir : Some Cinematic Philosophy
- Publisher
- University of Virginia Press
- Item Length
- 8.5 in
- Subject
- Film / Genres / Crime, Philosophy, Film / History & Criticism
- Publication Year
- 2012
- Series
- Page-Barbour Lectures
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 1.2 in
- Item Weight
- 12 Oz
- Item Width
- 5.5 in
- Number of Pages
- 152 Pages
Über dieses Produkt
Product Identifiers
Publisher
University of Virginia Press
ISBN-10
0813931894
ISBN-13
9780813931890
eBay Product ID (ePID)
112945109
Product Key Features
Number of Pages
152 Pages
Publication Name
Fatalism in American Film Noir : Some Cinematic Philosophy
Language
English
Subject
Film / Genres / Crime, Philosophy, Film / History & Criticism
Publication Year
2012
Type
Textbook
Subject Area
Religion, Performing Arts
Series
Page-Barbour Lectures
Format
Hardcover
Dimensions
Item Height
1.2 in
Item Weight
12 Oz
Item Length
8.5 in
Item Width
5.5 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2011-018971
Dewey Edition
23
Reviews
Like tragic figures, the heroes of noir are, or seem, doomed from the start. Pippin... calls into question this accepted view through analyses of three films.... Pippin demonstrates that, far from affirming fatalism, many noir films problematize the view that modern life is lived under the sign of doom. He argues that the very uncertainty of the human condition is the subject of film noir: is an individual's conduct freely chosen or determined by forces he or she does not understand? The three chosen films answer: Maybe we're free. Maybe we're not. Radical uncertainty is where these films take readers and mostly leave them. Pippin's analyses are thoughtful, detailed (even intricate), and challenging., In Fatalism in American Film Noir, Robert Pippin examines popular movies from a philosophical perspective and does not treat them merely as an illustration of ideas but as a way of putting the ideas to the test of concrete cinematic experience. He looks at them thoughtfully and sensitively both as an inquisitive philosopher and as an attentive film critic. An original and illuminating contribution both to philosophy and film studies., In Fatalism in American Film Noir, Robert Pippin examines popular movies from a philosophical perspective and does not treat them merely as an illustration of ideas but as a way of putting the ideas to the test of concrete cinematic experience. He looks at them thoughtfully and sensitively both as an inquisitive philosopher and as an attentive film critic. An original and illuminating contribution to both philosophy and film studies., Robert Pippin has done it again. Hot on the heels of his award-winning book about Westerns, this study of film noir tells the other side of the story, the bleaker, more pessimistic side of the great age of American cinema. Seamlessly blending philosophy, history, and film analysis, it convincingly and powerfully suggests that the crucial function of film noir is to offer a worked-out picture of what life would look like were we to suspect that our most important decisions carry no real weight. With this stunning achievement, Pippin has reconfirmed his position as one of the most important critics of film writing today.
Illustrated
Yes
Dewey Decimal
791.43/6556
Synopsis
The crime melodramas of the 1940s shared many formal and thematic elements. In this book Robert Pippin argues that many of these films also raise distinctly philosophical questions. The typical noir protagonist deliberates and plans, only to be confronted by the irrelevance of such deliberation and by results that contrast sharply, often tragically, with his or her intentions or true commitments. Pippin shows how this terrible disconnect sheds light on one of the central issues in modern philosophy - the nature of human agency., The crime melodramas of the 1940s known now as film noir shared many formal and thematic elements, from unusual camera angles and lighting to moral ambiguity and femmes fatales. In this book Robert Pippin argues that many of these films also raise distinctly philosophical questions. Where most Hollywood films of that era featured reflective individuals living with purpose, taking action and effecting desired consequences, the typical noir protagonist deliberates and plans, only to be confronted by the irrelevance of such deliberation and by results that contrast sharply, often tragically, with his or her intentions or true commitments. Pippin shows how this terrible disconnect sheds light on one of the central issues in modern philosophy--the nature of human agency. How do we distinguish what people do from what merely happens to them? Looking at several film noirs--including close readings of three classics of the genre, Fritz Lang?s Scarlet Street, Orson Welles?s The Lady from Shanghai, and Jacques Tourneur?s Out of the Past--Pippin reveals the ways in which these works explore the declining credibility of individuals as causal centers of agency, and how we live with the acknowledgment of such limitations., The crime melodramas of the 1940s known now as film noir shared many formal and thematic elements, from unusual camera angles and lighting to moral ambiguity and femmes fatales. In this book Robert Pippin argues that many of these films also raise distinctly philosophical questions. Where most Hollywood films of that era featured reflective individuals living with purpose, taking action and effecting desired consequences, the typical noir protagonist deliberates and plans, only to be confronted by the irrelevance of such deliberation and by results that contrast sharply, often tragically, with his or her intentions or true commitments. Pippin shows how this terrible disconnect sheds light on one of the central issues in modern philosophy--the nature of human agency. How do we distinguish what people do from what merely happens to them? Looking at several film noirs--including close readings of three classics of the genre, Fritz Lang's Scarlet Street, Orson Welles's The Lady from Shanghai, and Jacques Tourneur's Out of the Past--Pippin reveals the ways in which these works explore the declining credibility of individuals as causal centers of agency, and how we live with the acknowledgment of such limitations.
LC Classification Number
PN1995.9.F54P58 2011
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