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The Spanish Prisoner / Yannis Tzioumakis.

By: Contributor(s): Material type: TextTextSeries: American Indies : AMINPublisher: Edinburgh : Edinburgh University Press, [2022]Copyright date: ©2009Description: 1 online resource (168 p.) : 11 B/W illustrationsContent type:
Media type:
Carrier type:
ISBN:
  • 9780748633685
  • 9780748633708
Subject(s): Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Series Preface -- Acknowledgements -- Introduction: ‘You don’t know who anyone is’ -- 1. From Independent to ‘Indie’ Cinema -- 2. David Mamet and ‘Indie’ Cinema -- 3. ‘Indie’ Film at Work: Producing and Distributing The Spanish Prisoner -- 4. ‘That’s what you just think you saw!’ Narrative and Film Style in The Spanish Prisoner -- 5. Playing with Cinema: The Master of the Con Game Film -- Conclusion -- Filmography: David Mamet in American Cinema and Television -- Notes -- Bibliography -- Index
Summary: Despite more than a passing nod to such crowdpleasing classics as Hitchcock's North by Northwest, playwright-turned-independent filmmaker David Mamet's The Spanish Prisoner is a particularly idiosyncratic film that betrays its origin outside the Hollywood mainstream. Featuring a convoluted narrative, an excessive, often anti-classical, visual style, and belonging to the generic category of the'con game film' which often challenges the spectator's cognitive skills, The Spanish Prisoner is a film that bridges genre filmmaking withpersonal visual style, independent film production with niche distribution,and mainstream subject matter with unconventional filmic techniques.This book discusses The Spanish Prisoner as an example of contemporary American independent cinema while also using the film as a vehicle to explore several key ideas in film studies, especially in terms of aesthetics, narrative, style, spectatorship, genre and industry.Key FeaturesDistinguishes between independent and 'indie' cinema through anexamination of the 'classics divisions,' especially Sony Pictures ClassicsAssesses the position of David Mamet within American cinemaIntroduces the genre categories of the 'con artist' and the 'con game' film and discusses The Spanish Prisoner as a key example of the latterExamines the ways in which narrative, narration and visual style deviate from the mainstream/classical aestheticYannis Tzioumakis Lecturer in Media and Communication Studies at theUniversity of Liverpool.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780748633708

Frontmatter -- Contents -- Series Preface -- Acknowledgements -- Introduction: ‘You don’t know who anyone is’ -- 1. From Independent to ‘Indie’ Cinema -- 2. David Mamet and ‘Indie’ Cinema -- 3. ‘Indie’ Film at Work: Producing and Distributing The Spanish Prisoner -- 4. ‘That’s what you just think you saw!’ Narrative and Film Style in The Spanish Prisoner -- 5. Playing with Cinema: The Master of the Con Game Film -- Conclusion -- Filmography: David Mamet in American Cinema and Television -- Notes -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Despite more than a passing nod to such crowdpleasing classics as Hitchcock's North by Northwest, playwright-turned-independent filmmaker David Mamet's The Spanish Prisoner is a particularly idiosyncratic film that betrays its origin outside the Hollywood mainstream. Featuring a convoluted narrative, an excessive, often anti-classical, visual style, and belonging to the generic category of the'con game film' which often challenges the spectator's cognitive skills, The Spanish Prisoner is a film that bridges genre filmmaking withpersonal visual style, independent film production with niche distribution,and mainstream subject matter with unconventional filmic techniques.This book discusses The Spanish Prisoner as an example of contemporary American independent cinema while also using the film as a vehicle to explore several key ideas in film studies, especially in terms of aesthetics, narrative, style, spectatorship, genre and industry.Key FeaturesDistinguishes between independent and 'indie' cinema through anexamination of the 'classics divisions,' especially Sony Pictures ClassicsAssesses the position of David Mamet within American cinemaIntroduces the genre categories of the 'con artist' and the 'con game' film and discusses The Spanish Prisoner as a key example of the latterExamines the ways in which narrative, narration and visual style deviate from the mainstream/classical aestheticYannis Tzioumakis Lecturer in Media and Communication Studies at theUniversity of Liverpool.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jun 2022)