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OCoLC |
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20240909213021.0 |
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150815s2015 enk o 000 0 eng d |
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|a 9781783203710
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|a 1783203714
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|a (OCoLC)914150724
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|a PN1998.3 .C384
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|a HCDD
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|a Furze, Robert.
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|a The Visceral Screen :
|b Between the Cinemas of John Cassavetes and David Cronenberg.
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|a Bristol :
|b Intellect,
|c 2015.
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|a 1 online resource (246 pages)
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|a text
|b txt
|2 rdacontent
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|a computer
|b c
|2 rdamedia
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|a online resource
|b cr
|2 rdacarrier
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|a Print version record.
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|a Cover; Half Title; Title; Copyright; Contents; Acknowledgements; Biographical Note; Prologue; Cassavetes, Cronenberg, Barthes: A literature review; Gestation; Visceral; Hidden; The viewer; The chapters to follow: An overview; Chapter 1: The Visceral: From Adjective to Noun; Excess; Legibility; Semiology; Denotation; The visceral; Chapter 2: The Auteur and the Visceral Sense; The place of the author; The out-of-control auteur; The imperfect auteur; The auteur and the visceral sense: John Cassavetes and David Cronenberg; John Cassavetes; David Cronenberg; A few words on cult cinema.
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|a Chapter 3: John Cassavetes and David Cronenberg: Lists and EmptinessCassavetes, Cronenberg and the DVD special feature; Lists; Emptiness; Semiotics or semiology?; Arbitrariness; Paradigm/syntagm; Chapter 4: Effects; Spectacle; Attractions; Digital; Horrors; Camera Lucida; Theatre; Objects; Videodrome; Faces; Limits; Love Streams; From film to video games; The Path; Digital/analogue; Reaching out, pulling away; Conclusion: The visceral 'wounds'; Chapter 5: Cities; Princes and shards: Ideology's response to the visceral; Eastern Promises; Views from bridges; No centre; Terror; Husbands; Freedom.
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|a DivisionConclusion; Appendices; Appendix A: The visceral -- A relational model; Appendix B: Cassavantes and Cronenberg -- An annotated filmography; Appendix C: Glossary; References; Bibliography; Filmography; Back Cover.
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| 520 |
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|a Robert Furze argues the defining characteristic of John Cassavetes and David Cronenberg's respective approaches is that of ""visceral"" cinema, a term that illustrates the anxiety these film-makers provoke in their audiences. Cassavetes demonstrates this through disregard for plot structure and character coherence, while Cronenberg's focus is on graphic depictions of mutilation, extreme forms of bodily transformation, and violence. Cassavetes and Cronenberg are established auteurs, but the elements of their films that appear to be barriers to their artistic status, for example, slipshod method.
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| 600 |
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|a Cassavetes, John,
|d 1929-1989
|x Criticism and interpretation.
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| 600 |
1 |
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|a Cronenberg, David,
|d 1943-
|x Criticism and interpretation.
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| 600 |
1 |
7 |
|a Cassavetes, John,
|d 1929-1989
|2 fast
|1 https://id.oclc.org/worldcat/entity/E39PBJjRV4jyqTQ6mT9B4wc9Dq
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| 600 |
1 |
7 |
|a Cronenberg, David,
|d 1943-
|2 fast
|1 https://id.oclc.org/worldcat/entity/E39PBJgxt9ph8yR9FRWJVgyDbd
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| 655 |
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|a Criticism, interpretation, etc.
|2 fast
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| 758 |
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|i has work:
|a The visceral screen (Text)
|1 https://id.oclc.org/worldcat/entity/E39PCGxr7QWXMBXC96bXWYBCHC
|4 https://id.oclc.org/worldcat/ontology/hasWork
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| 776 |
0 |
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|i Print version:
|a Furze, Robert.
|t Visceral Screen : Between the Cinemas of John Cassavetes and David Cronenberg.
|d Bristol : Intellect, ©2015
|z 9781783203703
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| 856 |
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|u https://ebookcentral.proquest.com/lib/holycrosscollege-ebooks/detail.action?docID=2091483
|y Click for online access
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|a EBC-AC
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|a 92
|b HCD
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