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001 on1120972399
003 OCoLC
005 20210115100451.7
006 m o d
007 cr |n|||||||||
008 190926t20192019mnu ob s001 0 eng d
020 9781452959641|q(electronic bk.)
020 1452959641|q(electronic bk.)
020 |z9780816641321
020 |z0816641323
020 |z9780816641338
020 |z0816641331
035 (OCoLC)1120972399|z(OCoLC)1175621664
040 YDX|beng|epn|cYDX|dEBLCP|dOCLCO|dN$T|dJSTOR|dP@U|dOCLCQ
|dOCLCF|dOCLCO|dOCLCQ|dYDX|dOCLCQ|dMM9|dUX1
049 MAIN
050 4 PN1995|b.P3965 2019eb
082 04 791.4301/5|223
100 1 Perez, Gilberto,|d1943-|eauthor.
245 14 The eloquent screen :|ba rhetoric of film /|cGilberto
Perez ; foreword by James Harvey.
264 1 Minneapolis :|bUniversity of Minnesota Press,|c[2019]
264 4 |c©2019
300 1 online resource
336 text|btxt|2rdacontent
337 computer|bc|2rdamedia
338 online resource|bcr|2rdacarrier
505 0 Intro; Contents; Publishers's Note; Foreword; On Gil
Perez; Preface; Introduction: John Ford's Rhetoric; Judge
Priest's Rhetoric; Plato and Cicero; Rhetoric and Comedy;
Will Rogers and Stepin Fetchit; Identification; Comedy and
Hierarchy; Larger Than Life; The River and the Dance;
Politics and Principle; Myth and Truth; Rhetoric of Genre;
House of Miscegenation; Road to the Promised Land; I.
Cinematic Tropes; Metonymy; Tropes and Figures; Metaphor;
The Unraveled Underwear; The Broken Necklace; Metaphor and
Metonymy; Synecdoche; The Hands, the Bootie, the Sandals;
Faces; The Stolen Necklace
505 8 RosebudHavana Stories; The Dancing Women; The Guillotine;
Freedom and Predestination; The Puncture and the Veil; The
Train Whistles and the Hunk of Blue; Documentary,
Repetition, Representation; The Village Church; The
Revolutionary Battleship; Allegory and Extended
Synecdoche; The Monster and the City; Steamboat Willie;
Figura Futurorum; The Marriage of East and West; The Walls
of Jericho; Technique as Metaphor; The Road of Life; The
Striped Box; Surprise; The Slashed Eye and the Primal
Scene; The Priest and the Pineapple; Irony and Realism;
The Bridge and the Ballad; Dramatic Irony
505 8 The Hurdanos and UsIronic Self-Effacement; Open
Synecdoche and the Reality Effect; Hometown and War; God
Bless America; The High of War; Reflexivity and Comedy;
Modernist Parody; Folk Tale and Revolution; Each Scene for
Itself; Black Sheep; Flowers; Melodrama and Film
Technique; Between Tragedy and Comedy; From Theater to
Film; Thinking and Feeling; The Close-up as Aria;
Melodramatic Argumentation; Novelistic Characterization;
The Reverse Angle; McTeague and Greed; Photographer; Music
into Drama; Melodrama of the Spirited Woman; The Ambiguity
of Stella Dallas; Moving with Characters
505 8 Not ReconciledIn the Mood for Love; Tragic Narration; The
Personified Camera; Jump Cuts; Crosscutting; Split Space,
Unbroken Time; Displeasure; The Devil's Point of View;
Allegorical Dimensions; The Garden of Eden; Melodrama and
Comedy; Of Identification; Notions and Kinds of
Identification; The Projectionist; Notes; Index
650 0 Motion pictures|xPhilosophy.
650 0 Subjectivity in motion pictures.
650 0 Metaphor in motion pictures.
650 0 Motion picture plays|xHistory and criticism.
776 08 |iPrint version:|z9780816641321|z0816641323|w(DLC)
2018046160|w(OCoLC)1055837485
856 40 |uhttps://www.jstor.org/stable/10.5749/j.ctvpwhdcw
921 .
936 JSTOR-D-2020/21
