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03210cam a2200469 a 4500 001 9A875AF22B0311DE8B76D107A8D7520A 005 20150520012456 008 011113s2002 enka bq 001 0 eng 010 $a 2001052965 020 $a 9780521646710 (pbk.) 020 $a 0521646715 (pbk.) 020 $a 9780521641067 020 $a 0521641063 035 $a (OCoLC)48871770 035 $a (OCoLC)50272761 040 $a DLC $c DLC $d SILO $d C#P $d IOJ $d WSL $d SYB $d NIU $d SILO 050 00 $a PN1995.9.D4 $b L45 2002 082 00 $a 791.43/655 $2 21 100 1 $a Leitch, Thomas M. 245 1 $a Crime films / $c Thomas Leitch. 260 $a New York : $a New York : $b Cambridge University Press, $c 2002. 300 $a xv, 383 p. ; $b ill. ; $c 24 cm. 440 0 $a Genres in American cinema 504 $a Filmography: p. 341-357. 504 $a Includes bibliographical references (p. 331-339) and index. 505 00 $t What good are crime films? $t Historical and cultural overview -- $t Critical overview -- $t Fury and the victim film -- $t The Godfather and the gangster film -- $t Double Indemnity and the film noir -- $t Basic Instinct and the erotic thriller -- $t Murder on the Orient Express, Blue Velvet, and the unofficial detective film -- $t Chinatown and the hardboiled detective film -- $t Bullitt and the police film -- $t Reversal of Fortune and the lawyer film -- $t Fargo and the crime comedy -- $t What good are crime films? 520 $a This book surveys the entire range of crime films, including important subgenres such as the gangster film, the private eye film, film noir, as well as the victim film, the erotic thriller, and the crime comedy. Focusing on ten films that span the range of the twentieth century, Thomas Leitch traces the transformation of the three leading figures that are common to all crime films: the criminal, the victim and the avenger. Analyzing how each of the subgenres establishes oppositions among its ritual antagonists, he shows how the distinctions among them become blurred throughout the course of the century. This blurring, Leitch maintains, reflects and fosters a deep social ambivalence towards crime and criminals, while the criminal, victim and avenger characters effectively map the shifting relations between subgenres, such as the erotic thriller and the police film, within the larger genre of crime film that informs them all. 650 0 $a Detective and mystery films $z United States $x History and criticism. 650 0 $a Gangster films $z United States $x History and criticism. 650 0 $a Police films $z United States $x History and criticism. 856 41 $3 Sample text $u http://www.loc.gov/catdir/samples/cam033/2001052965.html 856 42 $3 Publisher description $u http://www.loc.gov/catdir/description/cam022/2001052965.html 856 41 $3 Table of contents $u http://www.loc.gov/catdir/toc/cam025/2001052965.html 939 $a 4838295 941 $a 5 952 $l OVUX522 $d 20180109065357.0 952 $l USUX851 $d 20170503031645.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=9A875AF22B0311DE8B76D107A8D7520A 994 $a 02 $b NIU 952 $l PTAX572 $d 20090701080000.0 952 $l UNUX074 $d 20090701080000.0 952 $l UTAX115 $d 20090701080000.0Initiate Another SILO Locator Search