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001			217210
003			IT-RoAPU
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008			221201t20222021stk fo d z eng d
020			_a9781474451406 _qprint
020			_a9781474451420 _qPDF
024	7		_a10.1515/9781474451420 _2doi
035			_a(DE-B1597)9781474451420
035			_a(DE-B1597)615994
035			_a(OCoLC)1312726287
040			_aDE-B1597 _beng _cDE-B1597 _erda
072		7	_aDES005000 _2bisacsh
082	0	4	_a791.4363564
084			_aonline - DeGruyter
100	1		_aEzra, Elizabeth _eautore
245	1	0	_aShoe Reels : _bThe History and Philosophy of Footwear in Film / _cElizabeth Ezra, Catherine Wheatley.
264		1	_aEdinburgh : _bEdinburgh University Press, _c[2022]
264		4	_c©2021
300			_a1 online resource (320 p.) : _b50 colour illustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
490	0		_aFilm and Fashions : FIFA
505	0	0	_tFrontmatter -- _tContents -- _tFigures -- _tAcknowledgements -- _tNotes on contributors -- _tForeword by the series editor -- _tIntroduction: foot notes -- _tChapter 1 Max’s stylish shoes -- _tChapter 2 A girl and a shoe: Marcel Fabre’s Amor pedestre -- _tChapter 3 ‘An intensive study of – feet!’ in two films by Lois Weber: Shoes and The Blot -- _tChapter 4 Magic shoes: Dorothy, Cinderella, Carrie -- _tChapter 5 The ruby slippers at the V&A: an odyssey -- _tChapter 6 Blood-red shoes? -- _tChapter 7 The two textures of invisibility: shoes as liminal questionings in Sullivan’s Travels -- _tChapter 8 How to see through a shoe: the fashion show sequence in How to Marry a Millionaire -- _tChapter 9 Frenetic footwear and lively lace-ups: the spectacle of shoes in Golden Age Hollywood animation -- _tChapter 10 Ferragamo’s shoes: from silent cinema to the present -- _tChapter 11 Feet of strength: the sword-and- sandals film -- _tChapter 12 Men in boots: on spectacular masculinity and its desublimation -- _tChapter 13 ‘The brunette with the legs’: the significance of footwear in Marnie -- _tChapter 14 The sole of Africa: shoes in three African films -- _tChapter 15 Slippers and heels: In the Mood for Love and sartorial investigation -- _tChapter 16 Sex, corruption and killer heels: footwear in the Korean corporate crime drama -- _tChapter 17 It’s gotta be the shoes: Nike in the Spike-o-sphere -- _tChapter 18 ‘Nice shoes’: Will Smith, mid-2000s (post) racial discourse and the symbolic significance of shoes in I, Robot and The Pursuit of Happyness -- _tChapter 19 ‘Whoa! Look at all her Louboutins!’ Girlhood and shoes in the films of Sofia Coppola -- _tChapter 20 Isabelle’s espadrilles, or, les chaussures d’Huppert -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aExamines the enduring significance of shoes to the cinema through a variety of theoretical approachesTraces the relationship between one particular object (shoes) and film as a medium in order to reveal the significance of material things to cinema, thematically, formally and philosophicallyReveals the political, cultural and economic power of film through its deployment of the iconography of shoesAsks if, and how, film uses" shoes differently from other art forms, and if so what this difference reveals about the medium, and about our current age of artOffers insights into debates around stardom; costume; gender; material objects and trauma; objects and the history of cinema; consumerism and advertisingIn his famous interpretation of Vincent Van Gogh’s painting A Pair of Peasant’s Shoes (1886), Heidegger argues that shoes tell us all we need to know about the world of the person who walks in them. In the case of Van Gogh’s painting, we learn this not through a description of the pair of shoes, nor by a report on how to make shoes, but by looking at the shoes. Heidegger thus gestures towards the power of the visual arts to show us human truths through images of footwear and the feet they conceal or reveal, a power that finds its fullest expression in the cinema. From Chaplin’s meal of boots (The Gold Rush, 1925), through Powell and Pressburger’s Red Shoes (1948) and Dorothy’s ruby slippers (The Wizard of Oz, 1939), to Julia Roberts’ pvc thigh-highs (Pretty Woman, 1990), Marty McFly’s power-lacing Nikes (Back to the Future, 1985) and the slim, spike-heeled stiletto that graces the poster for The Devil Wears Prada (2006), shoes are not only some of the cinema’s most enduring icons; they also serve as characterisations, plot devices, soundtracks, metaphors and philosophical touchpoints. This book anaylses their significnace through a range of approaches drawn from the fields of Film Studies, Philosophy, Cultural History, Fashion, Cultural Studies and Politics."
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 01. Dez 2022)
650		4	_aFilm, Media & Cultural Studies.
650		7	_aDESIGN / Fashion & Accessories. _2bisacsh
700	1		_aBolton, Lucy _eautore
700	1		_aBugaj, Malgorzata _eautore
700	1		_aChristie, Ian _eautore
700	1		_aEzra, Elizabeth _eautore
700	1		_aFlinn, Margaret C. _eautore
700	1		_aFuery, Kelli _eautore
700	1		_aHamad, Hannah _eautore
700	1		_aHandyside, Fiona _eautore
700	1		_aHolliday, Christopher _eautore
700	1		_aHutchinson, Pamela _eautore
700	1		_aLangford, Rachael _eautore
700	1		_aLodwick, Keith _eautore
700	1		_aParks, Tyler _eautore
700	1		_aPaulicelli, Eugenia _eautore
700	1		_aRushing, Robert A. _eautore
700	1		_aSalzberg, Ana _eautore
700	1		_aScheible, Jeff _eautore
700	1		_aTaylor-Jones, Kate _eautore
700	1		_aWallenberg, Louise _eautore
700	1		_aWheatley, Catherine _eautore
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.1515/9781474451420
856	4	0	_uhttps://www.degruyter.com/isbn/9781474451420
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9781474451420/original
942			_cEB
999			_c217210 _d217210