Through the study of performer and director Mike Nichols, Kyle Stevens questions the aesthetic-ideological stance against psychological realism. He argues that characters' actions are not just filmed concepts but can be film concepts whose forms resonate politically.
Through the study of performer and director Mike Nichols, Kyle Stevens questions the aesthetic-ideological stance against psychological realism. He argues that characters' actions are not just filmed concepts but can be film concepts whose forms resonate politically.
Kyle Stevens is Florence Levy Kay Fellow in Film Studies and the Digital Humanities at Brandeis University.
Inhaltsangabe
* Introduction - Mike Nichols and the Politics of Character * Chapter 1 - Nothing Goes Unheard: Nichols and May, Improvisation, and the Skewing of Language * Chapter 2 - Nichols' Comedy of Remarriage * Chapter 3 - The Graduate and the Subversion of Silence * Chapter 4 - Carnal Knowledge: The Close-Up, Duration, and Affective Impotence * Chapter 5 - The Minds of Chameleons: Nichols and Streep * Conclusion - Nichols' Cinema of Conversation * Bibliography * Index
* Introduction - Mike Nichols and the Politics of Character * Chapter 1 - Nothing Goes Unheard: Nichols and May, Improvisation, and the Skewing of Language * Chapter 2 - Nichols' Comedy of Remarriage * Chapter 3 - The Graduate and the Subversion of Silence * Chapter 4 - Carnal Knowledge: The Close-Up, Duration, and Affective Impotence * Chapter 5 - The Minds of Chameleons: Nichols and Streep * Conclusion - Nichols' Cinema of Conversation * Bibliography * Index
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