In the Shadow of the Cuckoo Clock. The Subversive Realism of the Third Man
With a view to exemplifying how film noir can effectively combine elements of expressionism and realism through a participatory viewing experience, this paper provides a discussion of as a cinematic text that concomitantly reiterates traditional insular values in times of global conflict and strengt...
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| Vydané v: | Romanian journal of English studies Ročník 20; číslo 1; s. 80 - 88 |
|---|---|
| Hlavný autor: | |
| Médium: | Journal Article |
| Jazyk: | English |
| Vydavateľské údaje: |
Timisoara
Sciendo
01.12.2023
De Gruyter Brill Sp. z o.o., Paradigm Publishing Services |
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| ISSN: | 2286-0428, 1584-3734, 2286-0428 |
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| Abstract | With a view to exemplifying how film noir can effectively combine elements of expressionism and realism through a participatory viewing experience, this paper provides a discussion of
as a cinematic text that concomitantly reiterates traditional insular values in times of global conflict and strengthens the individuality of post-war British cinema against the pressures of the American film industry. |
|---|---|
| AbstractList | With a view to exemplifying how film noir can effectively combine elements of expressionism and realism through a participatory viewing experience, this paper provides a discussion of
as a cinematic text that concomitantly reiterates traditional insular values in times of global conflict and strengthens the individuality of post-war British cinema against the pressures of the American film industry. With a view to exemplifying how film noir can effectively combine elements of expressionism and realism through a participatory viewing experience, this paper provides a discussion of The Third Man as a cinematic text that concomitantly reiterates traditional insular values in times of global conflict and strengthens the individuality of post-war British cinema against the pressures of the American film industry. With a view to exemplifying how film noir can effectively combine elements of expressionism and realism through a participatory viewing experience, this paper provides a discussion of The Third Man as a cinematic text that concomitantly reiterates traditional insular values in times of global conflict and strengthens the individuality of post-war British cinema against the pressures of the American film industry. |
| Author | More, Octavian |
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| Cites_doi | 10.1093/fmls/XXXI.1.37 10.3366/edinburgh/9780748691104.003.0002 10.1080/10509200802310640 10.1386/rjao.8.2.105_1 10.1002/9780470692035.ch10 10.7228/manchester/9780719070006.001.0001 10.1353/mfs.2007.0069 10.5840/renascence201365415 10.1386/fiin.11.5.9_1 |
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| SubjectTerms | British cinema film noir palpable absence semantic gaps visual realism |
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| Title | In the Shadow of the Cuckoo Clock. The Subversive Realism of the Third Man |
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