1.

Record Nr.

UNINA9910783124803321

Autore

Girgus Sam B. <1941->

Titolo

The films of Woody Allen / / Sam B. Girgus [[electronic resource]]

Pubbl/distr/stampa

Cambridge : , : Cambridge University Press, , 2002

ISBN

0-511-09961-4

1-107-13247-9

1-280-41847-8

0-511-17961-8

1-139-14775-7

0-511-06433-0

0-511-05800-4

0-511-30655-5

0-511-61525-6

0-511-07279-1

Edizione

[Second edition.]

Descrizione fisica

1 online resource (xii, 200 pages) : digital, PDF file(s)

Collana

Cambridge film classics

Disciplina

791.43/092

Lingua di pubblicazione

Inglese

Formato

Materiale a stampa

Livello bibliografico

Monografia

Note generali

Title from publisher's bibliographic system (viewed on 05 Oct 2015).

Nota di bibliografia

Includes bibliographical references (p. 193-195) and index.

Filmography: p. 175-191.

Nota di contenuto

Cover; Half-title; Series-title; Title; Copyright; Dedication; Contents; Acknowledgments; Introduction to the Second Edition; 1 Reconstruction and Revision in Woody Allen's Films; 2 Desire and Narrativity in Annie Hall; 3 Manhattan; 4 The Purple Rose of Cairo; 5 Hannah and Her Sisters; 6 The Eyes of God; Conclusion to the Second Edition; Filmography; Selected Bibliography; Index

Sommario/riassunto

The Films of Woody Allen was 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 efforts to separate his private life from his screen image. Allen now assumes a postmodern moral relativism and 'sensual realism' that differs profoundly from the moral sensibility of his earlier work.