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What goes around comes around : the films of Jonathan Demme

Autor: Michael Bliss; Christina Banks
Editorial: Carbondale : Southern Illinois University Press, ©1996.
Edición/Formato:   Libro-e : Publicación gubernamental estatal o provincial : Inglés (eng)Ver todas las ediciones y todos los formatos
Base de datos:WorldCat
Resumen:
This study by Michael Bliss and Christina Banks is the first book-length work to critically address the films of Jonathan Demme, from his first major work in 1974, Caged Heat, to his most recent, Philadelphia. In tracing the themes and techniques that Demme has developed and perfected through two decades, Bliss and Banks point out the distinctive qualities of a Demme film: his sensitive and sympathetic treatment of  Leer más
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Detalles

Género/Forma: Electronic books
Formato físico adicional: Print version:
Bliss, Michael, 1947-
What goes around comes around.
Carbondale : Southern Illinois University Press, ©1996
(DLC) 94041204
(OCoLC)31374183
Persona designada: Jonathan Demme; Jonathan Demme
Tipo de material: Publicación gubernamental, Publicación gubernamental estatal o provincial, Recurso en Internet
Tipo de documento: Recurso en Internet, Archivo de computadora
Todos autores / colaboradores: Michael Bliss; Christina Banks
ISBN: 0585107823 9780585107820
Número OCLC: 43476082
Notas de Reproducción: Electronic reproduction. [S.l.] : HathiTrust Digital Library, 2010. MiAaHDL
Descripción: 1 online resource (x, 176 pages) : illustrations
Detalles: Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002.
Contenido: Canned heat --
Road crazies --
Radio daze --
Problems on the set --
Huck meets the Hucksters --
Imitation of life --
Many people clapping, one man rapping --
Bicentennial babies --
The gang's all here --
Screams --
Love and death.
Responsabilidad: Michael Bliss & Christina Banks.

Resumen:

This study by Michael Bliss and Christina Banks is the first book-length work to critically address the films of Jonathan Demme, from his first major work in 1974, Caged Heat, to his most recent, Philadelphia. In tracing the themes and techniques that Demme has developed and perfected through two decades, Bliss and Banks point out the distinctive qualities of a Demme film: his sensitive and sympathetic treatment of characters; his use of wry humor, which aids his audience in appreciating human shortcomings; and his sense of joy in the filmmaking process. A graduate of what might be called the Roger Corman School of Filmmaking, Demme quickly managed to outgrow his exploitation film background and establish himself as a director whose concerns for humanistic issues, use of the newest and finest strains in contemporary music, and fascination with darker subjects in the midst of an often comic vision mark him as an impressive cinematic force. Demme is more interested in interpersonal relations and feelings than in deeds, an attitude complemented by his focus on issues of sexual equality and justice. Allowing for the kinds of fictional conclusions involving renewal and hope that exemplify the true mythos of comedy, Demme's films exemplify a statement that occurs in both Something Wild and Married to the Mob: "What goes around comes around."

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Datos enlazados


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