Screen Hustles, Grifts and Stings identifies recurrent themes and techniques of the con film, suggests precedents in literature and discusses the perennial appeal of the con man for readers and viewers alike.
Screen Hustles, Grifts and Stings identifies recurrent themes and techniques of the con film, suggests precedents in literature and discusses the perennial appeal of the con man for readers and viewers alike.
Amy Sargeant teaches in the London Program for Tisch School of the Arts at New York University. She was formerly Reader in Film at the University of Warwick and Lecturer in the History of Film and Visual Media at Birkbeck College, University of London. Her major publications include The Servant (BFI/Palgrave, 2011 - nominated for a BAFTSS prize); British Cinema: A Critical History (BFI, 2005) and (co-edited with Claire Monk) British Historical Cinema: History, Heritage and the Costume Film (Routledge, 2001).
Inhaltsangabe
Introduction 1. Lone Operators 2. Two-Handers: Buddy-Buddies; Young Upstarts and Double-Dealers 3. Aesop and Brer Rabbit 4. The Big Store 5. The Long Con Bibliography
Introduction 1. Lone Operators 2. Two-Handers: Buddy-Buddies; Young Upstarts and Double-Dealers 3. Aesop and Brer Rabbit 4. The Big Store 5. The Long Con Bibliography
Introduction 1. Lone Operators 2. Two-Handers: Buddy-Buddies; Young Upstarts and Double-Dealers 3. Aesop and Brer Rabbit 4. The Big Store 5. The Long Con Bibliography
Introduction 1. Lone Operators 2. Two-Handers: Buddy-Buddies; Young Upstarts and Double-Dealers 3. Aesop and Brer Rabbit 4. The Big Store 5. The Long Con Bibliography
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