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[null,"1.","Record Nr.",null,"UNINA9910784171503321"]
[null,null,"Autore",null,"Gormley Paul"]
[null,null,"Titolo",null,"The new-brutality film [[electronic resource] ] : race and affect in contemporary Hollywood cinema / / Paul Gormley"]
[null,null,"Pubbl/distr/stampa",null,"Bristol, UK, : Intellect, 2005"]
[null,null,"ISBN",null,"1-280-47699-0"]
[{"$nulls":4},"9786610476992"]
[{"$nulls":4},"1-84150-926-4"]
[null,null,"Descrizione fisica",null,"1 online resource (222 p.)"]
[null,null,"Disciplina",null,"791.43655"]
[{"$nulls":4},"791.436552"]
[null,null,"Soggetti",null,"Motion pictures - Social aspects - California - Los Angeles"]
[{"$nulls":4},"Violence 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","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references (p. 195-202) and index."]
[null,null,"Nota di contenuto",null,"Front Cover; Contents; Acknowledgements; Introduction; Chapter One - Naïve Imitations: Falling Down, the Crisis of the Action-Image and Cynical Realism; Chapter Two - Gangsters and Gangstas: Boyz N the Hood, and the Dangerous Black Body; Chapter Three - Gangsters and Gangstas Part Two: Menace II Society and the Cinema of Rage 1; Chapter Four - Miming Blackness: Reservoir Dogs and 'American Africanism'; Chapter Five - Trashing Whiteness: Pulp Fiction, Se7en, Strange Days and Articulating Affect; Conclusion; Bibliography; Filmography; Index"]
[null,null,null,"Sommario/riassunto","The 1990's saw the emergence of a new kind of American cinema, which this book calls the \"new brutality film.\" Violence and race have been at the heart of Hollywood cinema since its birth, but the new brutality film was the first kind of popular American cinema to begin making this relationship explicit. The rise of this cinema coincided with the rebirth of a long neglected strand of film theory, which seeks to unravel the complex relations of affect between the screen and the viewer. This book analyses and connects both of these developments, arguing that films like Falling Down, Reservoir Dogs,"]