Narrating Violence in Post-9/11 Action Cinema (Record no. 111166)

000 -LEADER
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001 - CONTROL NUMBER
control field 978-3-531-92602-5
003 - CONTROL NUMBER IDENTIFIER
control field DE-He213
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20140220084519.0
007 - PHYSICAL DESCRIPTION FIXED FIELD--GENERAL INFORMATION
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020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9783531926025
-- 978-3-531-92602-5
024 7# - OTHER STANDARD IDENTIFIER
Standard number or code 10.1007/978-3-531-92602-5
Source of number or code doi
050 #4 - LIBRARY OF CONGRESS CALL NUMBER
Classification number HM401-1281
072 #7 - SUBJECT CATEGORY CODE
Subject category code JHB
Source bicssc
072 #7 - SUBJECT CATEGORY CODE
Subject category code SOC026000
Source bisacsh
082 04 - DEWEY DECIMAL CLASSIFICATION NUMBER
Classification number 301
Edition number 23
100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Jung, Berenike.
Relator term author.
245 10 - TITLE STATEMENT
Title Narrating Violence in Post-9/11 Action Cinema
Medium [electronic resource] :
Remainder of title Terrorist Narratives, Cinematic Narration, and Referentiality /
Statement of responsibility, etc by Berenike Jung.
264 #1 -
-- Wiesbaden :
-- VS Verlag für Sozialwissenschaften,
-- 2010.
300 ## - PHYSICAL DESCRIPTION
Extent 130p.
Other physical details online resource.
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-- computer
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-- online resource
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520 ## - SUMMARY, ETC.
Summary, etc This work discusses the way in which action movies have responded to the visual and narrative challenge of depicting terrorist violence after 9/11, when the spectacular representation of terrorist violence – and by extension the consumers of these imagers – was considered as complicit behaviour. If terrorism is theatre, who goes to see the show? A close-reading of exemplary movies (V for Vendetta, Munich, and Children of Men) concentrates on three key aspects: How is terrorist violence justified, especially in comparison to other forms of violence? How is the audience implicitly positioned? And finally, what is the role and scope of the films’ visual short-cuts, iconic “real” images such as those from the Abu Ghraib prison? The results reaffirm popular movies' power of working through traumatic events as well as their capacity to articulate a valid political critique. Instead of inventing or preceding real acts of violence, cinema can document, witness, and encourage the spectator to explore unorthodox viewing positions and moral dilemma. This interdisciplinary work is addressed to students of Philosophy, the Humanities, Cinema, American, or Cultural Studies as well as to the interested public.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Social sciences.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Sociology.
650 14 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Social Sciences.
650 24 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Sociology.
650 24 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Sociology.
710 2# - ADDED ENTRY--CORPORATE NAME
Corporate name or jurisdiction name as entry element SpringerLink (Online service)
773 0# - HOST ITEM ENTRY
Title Springer eBooks
776 08 - ADDITIONAL PHYSICAL FORM ENTRY
Display text Printed edition:
International Standard Book Number 9783531175102
856 40 - ELECTRONIC LOCATION AND ACCESS
Uniform Resource Identifier http://dx.doi.org/10.1007/978-3-531-92602-5
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