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008 220302t20192019nyu fo d z eng d
010 _a2019013487
020 _a9780231193023
_qprint
020 _a9780231550116
_qPDF
024 7 _a10.7312/turv19302
_2doi
035 _a(DE-B1597)9780231550116
035 _a(DE-B1597)541711
035 _a(OCoLC)1134478343
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 0 0 _aPN1998.3.T374
_bT87 2019
050 4 _aPN1998.3.T374
_bT87 2020
072 7 _aPER004030
_2bisacsh
082 0 4 _a791.4302/8092
_223
084 _aonline - DeGruyter
100 1 _aTurvey, Malcolm
_eautore
245 1 0 _aPlay Time :
_bJacques Tati and Comedic Modernism /
_cMalcolm Turvey.
264 1 _aNew York, NY :
_bColumbia University Press,
_c[2019]
264 4 _c©2019
300 _a1 online resource :
_b240 b&w photographs, 8-page color insert
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aFilm and Culture Series
505 0 0 _tFrontmatter --
_tCONTENTS --
_tPreface and Acknowledgments --
_tIntroduction --
_t1. Comedic Modernism --
_t2. Comedy of Everyday Life --
_t3. The Beholder's Share --
_t4. Satirizing Modernity --
_tAfterword: Parade, Tati, and Participatory Culture --
_tNotes --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aJacques Tati is widely regarded as one of the greatest postwar European filmmakers. He made innovative and challenging comedies while achieving international box office success and attaining a devoted following. In Play Time, Malcolm Turvey examines Tati's unique comedic style and evaluates its significance for the history of film and modernism.Turvey argues that Tati captured elite and general audiences alike by combining a modernist aesthetic with slapstick routines, gag structures, and other established traditions of mainstream film comedy. Considering films such as Monsieur Hulot's Holiday (1953), Mon Oncle (1958), Play Time (1967), and Trafic (1971), Turvey shows how Tati drew on the rich legacy of comic silent film while modernizing its conventions in order to encourage his viewers to adopt a playful attitude toward the modern world. Turvey also analyzes Tati's sardonic view of the bourgeoisie and his complex and multifaceted satire of modern life. Tati's singular and enduring achievement, Turvey concludes, was to translate the democratic ideals of the postwar avant-garde into mainstream film comedy, crafting a genuinely popular modernism. Richly illustrated with images from the director's films, Play Time offers an illuminating and original understanding of Tati's work.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)
650 0 _aComedy films
_zFrance
_y20th century
_xHistory and criticism.
650 7 _aPERFORMING ARTS / Film & Video / History & Criticism.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7312/turv19302
856 4 0 _uhttps://www.degruyter.com/isbn/9780231550116
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780231550116/original
942 _cEB
999 _c184518
_d184518