EbookBell.com

Most ebook files are in PDF format, so you can easily read them using various software such as Foxit Reader or directly on the Google Chrome browser.
Some ebook files are released by publishers in other formats such as .awz, .mobi, .epub, .fb2, etc. You may need to install specific software to read these formats on mobile/PC, such as Calibre.

Please read the tutorial at this link: https://ebookbell.com/faq

We offer FREE conversion to the popular formats you request; however, this may take some time. Therefore, right after payment, please email us, and we will try to provide the service as quickly as possible.

For some exceptional file formats or broken links (if any), please refrain from opening any disputes. Instead, email us first, and we will try to assist within a maximum of 6 hours.

EbookBell Team

Cinema After Fascism The Shattered Screen Studies In European Culture And History 1st Edition Siobhan S Craig

SKU: BELL-2534462

$ 31.00 ~~$ 45.00~~ (-31%)

0 reviews

Cinema After Fascism The Shattered Screen Studies In European Culture And History 1st Edition Siobhan S Craig instant download after payment.

Publisher: Palgrave Macmillan

File Extension: PDF

File size: 1.27 MB

Pages: 212

Author: Siobhan S. Craig

ISBN: 0230103847

Language: English

Year: 2010

Edition: 1

Product desciption

Cinema After Fascism The Shattered Screen Studies In European Culture And History 1st Edition Siobhan S Craig by Siobhan S. Craig 0230103847 instant download after payment.

Cinema After Fascism considers how postwar European films glance ambivalently backward from the postwar period to the fascist era and delves into issues of gender certainties and spectatorship. In this period of film, familiar structures of epistemology and historiography reappear as ghostly imprints on postwar celluloid, and the remnants of fascist subjectivity walk the streets of postwar cities. Through new perspectives on the films of Roberto Rossellini, Billy Wilder, Carol Reed, Alain Resnais, and Marguerite Duras, this book examines the ways in which filmmakers acknowledge the fascist past. Siobhan S. Craig reveals that the attempts to reconfigure the idioms of cinema are never fully naturalized and remain highly precarious constructions.