| 000 | 02965nam a2200565 454500 | ||
|---|---|---|---|
| 001 | 227360 | ||
| 003 | IT-RoAPU | ||
| 005 | 20250106151016.0 | ||
| 006 | m|||||o||d|||||||| | ||
| 007 | cr || |||||||| | ||
| 008 | 240625t20142014nyu fo d z eng d | ||
| 010 | _a2013023314 | ||
| 020 | 
_a9781782382782 _qprint  | 
||
| 020 | 
_a9781782382799 _qPDF  | 
||
| 024 | 7 | 
_a10.1515/9781782382799 _2doi  | 
|
| 035 | _a(DE-B1597)9781782382799 | ||
| 035 | _a(DE-B1597)636171 | ||
| 035 | _a(OCoLC)1350570468 | ||
| 040 | 
_aDE-B1597 _beng _cDE-B1597 _erda  | 
||
| 050 | 0 | 0 | 
_aPN1995 _b.C3415 2014  | 
| 050 | 4 | _aPN1995 | |
| 072 | 7 | 
_aPER004030 _2bisacsh  | 
|
| 082 | 0 | 4 | _a791.43612 | 
| 084 | _aonline - DeGruyter | ||
| 100 | 1 | 
_aCampora, Matthew _eautore  | 
|
| 245 | 1 | 0 | 
_aSubjective Realist Cinema : _bFrom Expressionism to ‹i›Inception‹/i› / _cMatthew Campora.  | 
| 264 | 1 | 
_aNew York ; _aOxford : _bBerghahn Books, _c[2014]  | 
|
| 264 | 4 | _c©2014 | |
| 300 | _a1 online resource (160 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 -- _tChapter 1. Complex Narratives -- _tChapter 2. Two Trajectories of the Cinema of Attractions -- _tChapter 3. Subjective Realism and Multiform Narratives -- _tChapter 4. Mulholland Drive -- _tChapter 5. Memento -- _tChapter 6. Eternal Sunshine of the Spotless Mind -- _tConclusion -- _tFilmography -- _tBibliography -- _tIndex  | 
| 506 | 0 | 
_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star  | 
|
| 520 | _aSubjective Realist Cinema looks at the fragmented narratives and multiple realities of a wide range of films that depict subjective experience and employ “subjective realist” narration, including recent examples such as Mulholland Drive, Memento, and Eternal Sunshine of the Spotless Mind. The author proposes that an understanding of the narrative structures of these films, particularly their use of mixed and multiple realities, enhances viewers’ enjoyment and comprehension of such films, and that such comprehension offers a key to understanding contemporary filmmaking. | ||
| 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 25. Jun 2024) | |
| 650 | 0 | 
_aMotion pictures _xPhilosophy.  | 
|
| 650 | 0 | _aRealism in motion pictures. | |
| 650 | 0 | _aSubjectivity in motion pictures. | |
| 650 | 7 | 
_aPERFORMING ARTS / Film & Video / History & Criticism. _2bisacsh  | 
|
| 653 | _aFilm and Television Studies. | ||
| 850 | _aIT-RoAPU | ||
| 856 | 4 | 0 | _uhttps://doi.org/10.1515/9781782382799 | 
| 856 | 4 | 0 | _uhttps://www.degruyter.com/isbn/9781782382799 | 
| 856 | 4 | 2 | 
_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9781782382799/original  | 
| 942 | _cEB | ||
| 999 | 
_c227360 _d227360  | 
||