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020 _a9780292752917
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024 7 _a10.7560/752894
_2doi
035 _a(DE-B1597)9780292752917
035 _a(DE-B1597)587865
035 _a(OCoLC)1280944953
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aPER000000
_2bisacsh
082 0 4 _a791.4302 33092
_223
084 _aonline - DeGruyter
100 1 _aSperb, Jason
_eautore
245 1 0 _aBlossoms and Blood :
_bPostmodern Media Culture and the Films of Paul Thomas Anderson /
_cJason Sperb.
264 1 _aAustin :
_bUniversity of Texas Press,
_c[2021]
264 4 _c©2013
300 _a1 online resource (296 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tAcknowledgments --
_tIntroduction White-Noise Media Culture and the Films of Paul Thomas Anderson --
_tChapter 1. I Remembered Your Face: Indie Cinema, Neo-noir, and Narrative Ambiguity in Hard Eight (1996) --
_tChapter 2. I Dreamed I Was in a Hollywood Movie: Stars, Hyperreal Sounds of the 1970s, and Cinephiliac Pastiche in Boogie Nights (1997) --
_tChapter 3 If Th at Was in a Movie, I Wouldn’t Believe It: Melodramatic Ambivalence, Hypermasculinity, and the Autobiographical Impulse in Magnolia (1999) --
_tChapter 4. The Art-House Adam Sandler Movie: Commodity Culture and the Ethereal Ephemerality of Punch-Drunk Love (2002) --
_tChapter 5 I Have a Competition in Me: Political Allegory, Artistic Collaboration, and Narratives of Perfection in Th ere Will Be Blood (2007) --
_tAfterword On The Master --
_tNotes --
_tSelect Bibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aFrom his film festival debut Hard Eight to ambitious studio epics Boogie Nights, Magnolia, and There Will Be Blood, Paul Thomas Anderson’s unique cinematic vision focuses on postmodern excess and media culture. In Blossoms and Blood, Jason Sperb studies the filmmaker’s evolving aesthetic and its historical context to argue that Anderson’s films create new, often ambivalent, narratives of American identity in a media-saturated world. Blossoms and Blood explores Anderson’s films in relation to the aesthetic and economic shifts within the film industry and to America’s changing social and political sensibilities since the mid-1990s. Sperb provides an auteur study with important implications for film history, media studies, cultural studies, and gender studies. He charts major themes in Anderson’s work, such as stardom, self-reflexivity, and masculinity and shows how they are indicative of trends in late twentieth-century American culture. One of the first books to focus on Anderson’s work, Blossoms and Blood reveals the development of an under-studied filmmaker attuned to the contradictions of a postmodern media culture.
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 26. Apr 2022)
650 0 _aMotion picture producers and directors.
650 7 _aPERFORMING ARTS / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7560/752894
856 4 0 _uhttps://www.degruyter.com/isbn/9780292752917
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780292752917/original
942 _cEB
999 _c188063
_d188063