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[null,"1.","Record Nr.",null,"UNINA990003104380403321"]
[null,null,"Titolo",null,"Interest Groups in American Society / Harmon Zeigler"]
[null,null,"Pubbl/distr/stampa",null,"Englewood Cliffs, N.J. : Prentice-Hall, \\c\\\\1964"]
[null,null,"Descrizione fisica",null,"VIII, 343 p. ; 22 cm"]
[null,null,"Disciplina",null,"19520"]
[{"$nulls":4},"F/1.221"]
[null,null,"Locazione",null,"SES"]
[null,null,"Collocazione",null,"19520 ZEI"]
[null,null,"Lingua di pubblicazione",null,"Italiano"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,"2.","Record Nr.",null,"UNINA9910819416503321"]
[null,null,"Autore",null,"Thomson David <1941->"]
[null,null,"Titolo",null,"Murder and the movies / / David Thomson"]
[null,null,"Pubbl/distr/stampa",null,"New Haven ; ; London : , : Yale University Press, , [2020]"]
[{"$nulls":4},"©2020"]
[null,null,"ISBN",null,"0-300-25628-0"]
[null,null,"Descrizione fisica",null,"1 online resource (viii, 232 pages)"]
[null,null,"Disciplina",null,"791.43655"]
[null,null,"Soggetti",null,"Murder in motion pictures"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Includes index."]
[null,null,"Nota di contenuto",null,"Frontmatter -- Contents -- In Ozark -- Alone -- Red Rum -- I Could -- It’s Not Fair -- What Is an Overlook? -- A Nice English Murder -- The Good Soldier -- We Can Kill Anybody -- Cruel Being Kind -- A Lark! An Aside -- Are Murderers Crazy? -- Single-Handed -- Femme Fatale -- The Woodman’s Bright Axe -- Slaughter -- The Room I Had to Live In -- Solitary Confinement -- And Now, Death -- Sources and Thanks -- Index"]
[null,null,null,"Sommario/riassunto","How many acts of murder have each of us followed on a screen? What does that say about us? Do we remain law-abiding citizens who wouldn’t hurt a fly?   Film historian David Thomson, known for wit and subversiveness, leads us into this very delicate subject. While unpacking classics such as Seven, Kind Hearts and Coronets, Strangers on a Train, The Conformist, The Godfather, and The Shining, he offers a disconcerting sense of how the form of movies makes us accomplices in this sinister narrative process.   By turns seductive and astringent, very serious and suddenly hilarious, Murder and the Movies admits us into what Thomson calls “a warped triangle”: the creator working out a compelling death; the killer doing his and her best; and the entranced reader and spectator trying to cling to life and a proper sense of decency."]