LEADER 03913nam 22006491 450 001 9910828515803321 005 20240418043517.0 010 $a0-292-75290-3 010 $a0-292-75291-1 024 7 $a10.7560/752894 035 $a(CKB)3170000000060215 035 $a(EBL)3443698 035 $a(SSID)ssj0000999892 035 $a(PQKBManifestationID)11522538 035 $a(PQKBTitleCode)TC0000999892 035 $a(PQKBWorkID)10942798 035 $a(PQKB)10257168 035 $a(OCoLC)859154931 035 $a(MdBmJHUP)muse25098 035 $a(Au-PeEL)EBL3443698 035 $a(CaPaEBR)ebr10768931 035 $a(OCoLC)899045092 035 $a(Au-PeEL)EBL7171748 035 $a(DE-B1597)587865 035 $a(OCoLC)1280944953 035 $a(DE-B1597)9780292752917 035 $a(MiAaPQ)EBC3443698 035 $a(MiAaPQ)EBC7171748 035 $a(EXLCZ)993170000000060215 100 $a20130416h20132013 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aBlossoms and blood $epostmodern media culture and the films of Paul Thomas Anderson /$fJason Sperb 205 $a1st ed. 210 1$aAustin :$cUniversity of Texas Press,$d[2013] 210 4$dİ2013 215 $a1 online resource (297 p.) 300 $aDescription based upon print version of record. 311 $a0-292-75289-X 320 $aIncludes bibliographical references and index. 327 $aMachine generated contents note: Acknowledgments -- Introduction. White-Noise Media Culture and the Films of Paul Thomas Anderson -- Chapter 1. I Remembered Your Face: Indie Cinema, Neo-noir, and -- Narrative Ambiguity in Hard Eight (1996) -- Chapter 2. I Dreamed I Was in a Hollywood Movie: Stars, Hyperreal Sounds of the 1970s, and Cinephiliac Pastiche in Boogie Nights (1997) -- Chapter 3. If That Was in a Movie, I Wouldn't Believe It: Melodramatic Ambivalence, Hypermasculinity, and the Autobiographical Impulse in Magnolia (1999) -- Chapter 4. The Art-House Adam Sandler Movie: Commodity Culture and the Ethereal Ephemerality of Punch-Drunk Love (2002) -- Chapter 5. I Have a Competition in Me: Political Allegory, Artistic Collaboration, and Narratives of Perfection in There Will Be Blood (2007) -- Afterword. On The Master -- Notes -- Select Bibliography -- Index. 330 $aFrom his film festival debut Hard Eight to ambitious studio epics Boogie Nights, Magnolia, and There Will Be Blood, Paul Thomas Anderson?s unique cinematic vision focuses on postmodern excess and media culture. In Blossoms and Blood, Jason Sperb studies the filmmaker?s evolving aesthetic and its historical context to argue that Anderson?s films create new, often ambivalent, narratives of American identity in a media-saturated world. Blossoms and Blood explores Anderson?s films in relation to the aesthetic and economic shifts within the film industry and to America?s changing social and political sensibilities since the mid-1990s. Sperb provides an auteur study with important implications for film history, media studies, cultural studies, and gender studies. He charts major themes in Anderson?s work, such as stardom, self-reflexivity, and masculinity and shows how they are indicative of trends in late twentieth-century American culture. One of the first books to focus on Anderson?s work, Blossoms and Blood reveals the development of an under-studied filmmaker attuned to the contradictions of a postmodern media culture. 606 $aMotion picture producers and directors 615 0$aMotion picture producers and directors. 676 $a791.4302/33092 686 $aPER004030$2bisacsh 700 $aSperb$b Jason$f1978-$01609008 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910828515803321 996 $aBlossoms and blood$94091285 997 $aUNINA