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The Spanish prisoner / Yannis Tzioumakis.

By: Material type: TextTextSeries: American indiesPublication details: Edinburgh : Edinburgh University Press, ©2009.Description: 1 online resource (xi, 154 pages) : illustrationsContent type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780748633708
  • 0748633707
  • 9780748671236
  • 0748671234
  • 1282136496
  • 9781282136496
  • 9786612136498
  • 6612136499
Subject(s): Genre/Form: Additional physical formats: Print version:: Spanish prisoner.DDC classification:
  • 791.43/72 22
LOC classification:
  • PN1997.S762 T95 2009eb
Other classification:
  • HU 4443
Online resources:
Contents:
Introduction : "You don't know who anyone is" -- From independent to "indie" cinema -- David Mamet and "indie" cinema -- "Indie" film at work : producing and distributing The Spanish prisoner -- "That's what you just think you saw!" : narrative and film style in The Spanish prisoner -- Playing with cinema : the master of the con game film -- Conclusion -- Filmography : David Mamet in American cinema and television.
Action note:
  • digitized 2010 HathiTrust Digital Library committed to preserve
Summary: Despite more than a passing nod to such crowdpleasing classics as Hitchcock's North by Northwest, playwright-turned-independent filmmaker David Mamet's The Spanish Prisoner is a particularly idiosyncratic film that betrays its origin outside the Hollywood mainstream. Featuring a convoluted narrative, an excessive, often anti-classical, visual style, and belonging to the generic category of the'con game film' which often challenges the spectator's cognitive skills, The Spanish Prisoner is a film that bridges genre filmmaking withpersonal visual style, independent film production with niche distribution, and mainstream subject matter with unconventional filmic techniques. This book discusses The Spanish Prisoner as an example of contemporary American independent cinema while also using the film as a vehicle to explore several key ideas in film studies, especially in terms of aesthetics, narrative, style, spectatorship, genre and industry. Key Features Distinguishes between independent and 'indie' cinema through anexamination of the 'classics divisions, ' especially Sony Pictures Classics Assesses the position of David Mamet within American cinema Introduces the genre categories of the 'con artist' and the 'con game' film and discusses The Spanish Prisoner as a key example of the latter Examines the ways in which narrative, narration and visual style deviate from the mainstream/classical aesthetic Yannis Tzioumakis Lecturer in Media and Communication Studies at theUniversity of Liverpool.
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Includes bibliographical references (pages 140-146) and index.

Introduction : "You don't know who anyone is" -- From independent to "indie" cinema -- David Mamet and "indie" cinema -- "Indie" film at work : producing and distributing The Spanish prisoner -- "That's what you just think you saw!" : narrative and film style in The Spanish prisoner -- Playing with cinema : the master of the con game film -- Conclusion -- Filmography : David Mamet in American cinema and television.

Includes filmography (pages 126-127).

Use copy Restrictions unspecified star MiAaHDL

Electronic reproduction. [Place of publication not identified] : HathiTrust Digital Library, 2010. MiAaHDL

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. MiAaHDL

http://purl.oclc.org/DLF/benchrepro0212

digitized 2010 HathiTrust Digital Library committed to preserve pda MiAaHDL

Print version record.

English.

Despite more than a passing nod to such crowdpleasing classics as Hitchcock's North by Northwest, playwright-turned-independent filmmaker David Mamet's The Spanish Prisoner is a particularly idiosyncratic film that betrays its origin outside the Hollywood mainstream. Featuring a convoluted narrative, an excessive, often anti-classical, visual style, and belonging to the generic category of the'con game film' which often challenges the spectator's cognitive skills, The Spanish Prisoner is a film that bridges genre filmmaking withpersonal visual style, independent film production with niche distribution, and mainstream subject matter with unconventional filmic techniques. This book discusses The Spanish Prisoner as an example of contemporary American independent cinema while also using the film as a vehicle to explore several key ideas in film studies, especially in terms of aesthetics, narrative, style, spectatorship, genre and industry. Key Features Distinguishes between independent and 'indie' cinema through anexamination of the 'classics divisions, ' especially Sony Pictures Classics Assesses the position of David Mamet within American cinema Introduces the genre categories of the 'con artist' and the 'con game' film and discusses The Spanish Prisoner as a key example of the latter Examines the ways in which narrative, narration and visual style deviate from the mainstream/classical aesthetic Yannis Tzioumakis Lecturer in Media and Communication Studies at theUniversity of Liverpool.

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