02644oam 2200589 a 450 991082592430332120200520144314.0979-82-16-02568-91-282-40630-297866124063000-313-02773-010.5040/9798216025689(CKB)1000000000808022(EBL)497323(OCoLC)58810698(SSID)ssj0000366744(PQKBManifestationID)11265622(PQKBTitleCode)TC0000366744(PQKBWorkID)10416221(PQKB)11715792(Au-PeEL)EBL497323(CaPaEBR)ebr10349148(CaONFJC)MIL240630(MiAaPQ)EBC497323(DLC)BP9798216025689BC(EXLCZ)99100000000080802220240214e20042024 uy 0engur|n|---|||||txtccrThis wounded cinema, this wounded life violence and utopia in the films of Sam Peckinpah /Gabrielle Murray1st ed.Westport, Conn. :Praeger,2004.London :Bloomsbury Publishing (UK),20241 online resource (172 p.)Description based upon print version of record.0-275-98058-8 Includes bibliographical references (p. [153]-156) and index.Includes filmography: p. [131].Contents; Acknowledgments; Introduction; 1 This Wounded Cinema, This Wounded Life; 2 Dead to the World; 3 Deep Play: Rituals of Violence and Enchantment; 4 Persevering in Our Existence; 5 The Savage, or "Let Love In!"; Conclusion; Sam Peckinpah Filmography; Notes; Selected Bibliography; IndexFilm scholarship has largely failed to address the complex and paradoxical nature of the films of Sam Peckinpah, focusing primarily on the violence of movies such as The Wild Bunch and Straw Dogs while ignoring the poetry and gentility of lesser-known pictures including The Ballad of Cable Hogue and Junior Bonner. Serving as a necessary corrective, Gabrielle Murray's This Wounded Cinema, This Wounded Life: Violence and Utopia in the Films of Sam Peckinpah offers a better understanding of the work of this landmark director through close readings of both his famous and less-famous works.||Placin791.4302/33/092Murray Gabrielle1693571DLCDLCDLCBOOK9910825924303321This wounded cinema, this wounded life4071465UNINA