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Titlebook: Existentialism and Social Engagement in the Films of Michael Mann; Vincent M. Gaine Book 2011 Palgrave Macmillan, a division of Macmillan

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书目名称Existentialism and Social Engagement in the Films of Michael Mann
编辑Vincent M. Gaine
视频video
图书封面Titlebook: Existentialism and Social Engagement in the Films of Michael Mann;  Vincent M. Gaine Book 2011 Palgrave Macmillan, a division of Macmillan
描述Michael Mann‘s films receive a detailed analysis as existential dramas, including  Heat, Collateral , The Last of the Mohicans and Public Enemies. The book demonstrates that Mann‘s films perform critical engagement with existentialism, illustrating the problems and opportunities of living according to this philosophy.
出版日期Book 2011
关键词ethics; existentialism; film; Hollywood; philosophy
版次1
doihttps://doi.org/10.1057/9780230348448
isbn_softcover978-1-349-33672-2
isbn_ebook978-0-230-34844-8
copyrightPalgrave Macmillan, a division of Macmillan Publishers Limited 2011
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https://doi.org/10.1057/9780230348448ethics; existentialism; film; Hollywood; philosophy
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Composition of Functional Food in World Dietresence: writer, producer and director of a dozen films as well as producer of various television shows. Does his position in Hollywood make him an auteur, a term which suggests responsibility for the finished film? This book takes the position that Michael Mann . be regarded as an auteur, and this
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Nutrient Control of Immune Functions, 2002: 7) while . has been dubbed an ‘existential crime movie’ (Steensland, 2002: 26). The use of existentialism to understand Mann’s films has precedent, although an in-depth application of this philosophy to his . has not been undertaken until now. In order to lay the foundation for existentiali
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Murugesan Arumugam,S. Sugin Lal Jabarisronment. In ., a different form of tension arises due to the protagonist’s encounter with psychopathology, as he pursues one psychopath and seeks advice from another. Will Graham’s (William Petersen) pursuit of the serial killer Francis Dollarhyde (Tom Noonan) creates tension between Graham’s fundam
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Computational gene finding in plants,ppears hollow, blank and soulless as he moves through the urban scape of Los Angeles between his five targets. By contrast, Max (Jamie Foxx), the cab driver who ferries Vincent around, is com­passionate and sympathetic, as appalled by Vincent’s indifference to life as Graham or Hanna would be. The f
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