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What goes around comes around : the films of Jonathan Demme

著者: Michael Bliss; Christina Banks
出版: Carbondale : Southern Illinois University Press, ©1996.
エディション/フォーマット:   電子書籍 : State or province government publication : Englishすべてのエディションとフォーマットを見る
データベース:WorldCat
概要:
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  続きを読む
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詳細

ジャンル/形式: Electronic books
その他のフォーマット: Print version:
Bliss, Michael, 1947-
What goes around comes around.
Carbondale : Southern Illinois University Press, ©1996
(DLC) 94041204
(OCoLC)31374183
関連の人物: Jonathan Demme; Jonathan Demme
資料の種類: Government publication, State or province government publication, インターネット資料
ドキュメントの種類: インターネットリソース, コンピューターファイル
すべての著者/寄与者: Michael Bliss; Christina Banks
ISBN: 0585107823 9780585107820
OCLC No.: 43476082
複製に関する注記: Electronic reproduction. [S.l.] : HathiTrust Digital Library, 2010. MiAaHDL
物理形態: 1 online resource (x, 176 pages) : illustrations
詳細: 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.
コンテンツ: 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.
責任者: Michael Bliss & Christina Banks.

概要:

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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