| Record ID | marc_columbia/Columbia-extract-20221130-015.mrc:115638834:3332 |
| Source | marc_columbia |
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LEADER: 03332cam a2200505 a 4500
001 7308386
005 20221130231407.0
008 020318s2002 enka bq 001 0 eng
010 $a 2002025617
015 $aGBA2-78413
019 $a59498996
020 $a0521810914 (hardback)
020 $a9780521810913 (hardback)
020 $a0521009294 (pbk.)
020 $a9780521009294 (pbk.)
029 1 $aUKM$bbA278413
029 1 $aNLGGC$b245455698
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035 $a(OCoLC)49403653$z(OCoLC)59498996
035 $a(NNC)7308386
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050 00 $aPN1998.3.A45$bG57 2002
082 00 $a791.43/092$221
100 1 $aGirgus, Sam B.,$d1941-$0http://id.loc.gov/authorities/names/n78073888
245 14 $aThe films of Woody Allen /$cSam B. Girgus.
250 $a2nd ed.
260 $aCambridge ;$aNew York :$bCambridge University Press,$c2002.
300 $axii, 200 pages :$billustrations ;$c23 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
490 1 $aCambridge film classics
504 $aIncludes bibliographical references (p. 193-195) and index.
504 $aFilmography: p. 175-191.
505 0 $aIntroduction to the revised edition: The prisoner of aura : the lost world of Woody Allen -- Reconstruction and revision in Woody Allen's films -- Desire and narrativety in Annie Hall -- Love in Manhattan -- Zelig and The Purple Rose of Cairo : Allen and poststructural anxiety -- Happy ending : Hannah and Her Sisters -- Eyes of God : seeking justice in Crimes and Misdemeanors -- Allen's fall : mind, morals, and meaning in Deconstructing Harry.
520 1 $a"The Films of Woody Allen is the first full-length work to examine the director as a serious filmmaker and artist. Sam Girgus argues that Allen has consistently been on the cutting edge of contemporary critical and cultural consciousness, challenging our notions of authorship, narrative, perspective, character, theme, ideology, gender, and sexuality. This revised and updated edition includes two new chapters that examine Allen's work since 1992. Girgus argues that the scandal surrounding Allen's personal life in the early 1990s has altered his image in ways that reposition moral consciousness in his work. The union between Allen's public and private selves that created a special aura about him remains intact despite the director's concerted effort to separate his private life from his screen image. Allen now assumes a postmodern moral relativism and sensual realism that differ profoundly from the moral sensibility of his earlier work."--BOOK JACKET.
600 10 $aAllen, Woody,$d1935-$xCriticism and interpretation.
600 14 $aAllen, Woody,$d1935-$xCriticism and interpretation.
600 16 $aAllen, Woody$xCritique et interprétation.
830 0 $aCambridge film classics.$0http://id.loc.gov/authorities/names/n92063109
856 41 $3Sample text$uhttp://www.loc.gov/catdir/samples/cam033/2002025617.html
856 42 $3Publisher description$uhttp://www.loc.gov/catdir/description/cam022/2002025617.html
856 41 $3Table of contents$uhttp://www.loc.gov/catdir/toc/cam025/2002025617.html
852 00 $bmil$hPN1998.3.A45$iG57 2002