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Covering everything from Hollywood films to Soviet cinema, London's queer spaces to spaceships, horror architecture and action scenes, Screen Interiors presents an array of innovative perspectives on film design. Essays address questions related to interiors and objects in film and television from the early 1900s up until the present day. Authors explore how interior film design can facilitate action and amplify tensions, how rooms are employed as structural devices and how designed spaces can contribute to the construction of identities. Case studies look at disjunctions between interior…mehr
Covering everything from Hollywood films to Soviet cinema, London's queer spaces to spaceships, horror architecture and action scenes, Screen Interiors presents an array of innovative perspectives on film design.
Essays address questions related to interiors and objects in film and television from the early 1900s up until the present day. Authors explore how interior film design can facilitate action and amplify tensions, how rooms are employed as structural devices and how designed spaces can contribute to the construction of identities. Case studies look at disjunctions between interior and exterior design and the inter-relationship of production design and narrative.
With a lens on class, sexuality and identity across a range of films including Twilight of a Woman's Soul (1913), The Servant (1963), Caravaggio (1986), and Passengers (2016), and illustrated with film stills throughout, Screen Interiors showcases an array of methodological approaches for the study of film and design history.
Pat Kirkham is Professor of Design History at Kingston University, UK, Professor Emerita at the Bard Graduate Centre, USA, and Associate Research Fellow at the Cinema and Television Research History Centre, De Montfort University, UK. Sarah A. Lichtman is Assistant Professor of Design History at Parsons School of Design, USA.
Inhaltsangabe
List of Figures Acknowledgements Introduction Pat Kirkham (Kingston University UK) and Sarah A. Lichtman (Parsons School of Design USA) Section One: House and Home: Space Comfort Class Gender and Generation 1. Comfort and the Domestic Interior in Soviet Fiction Cinema of the 1920s Eleanor Rees (University of College London UK) 2. Furnishing I Love Lucy (1951-57) Marilyn Cohen (Parsons School of Design USA) 3. From the Country House Film to the House in the Country Film: Space Class and Generation Christine Geraghty (University of Glasgow UK) 4. Space Interiors and 1980s Hollywood Teen Films Patrick O'Neill (Kingston University UK) Section Two: The Curated Home 5. Mobilizing Material Culture: Collecting and Interiority in Luchino Visconti's Conversation Piece (1974) Shax Reigler (Architectural Digest USA) 6. From Sex to Narcissism: Understanding Minimalist Interiors in New York Films of the 1970s Timothy M. Rohan (University of Massachusetts Amherst USA) 7. "Home furnishing takes a cue from Paris too": The Fashion Professional at Work and Home in Postwar Hollywood Films c. 1957-1961 Rebecca C. Tuite (Bard Graduate Center USA) Section Three: Framing Interiors and Interiorities: Inside and Out 8. Framing Interiorities: Interiors Objects and Hidden Desires in Billy Wilder's The Apartment (1960) Imma Forino (Politecnico di Milano Italy) 9. Frames Veils and Windows: Modern Cinematic Set Design in Early Russian Films by Evgenii Bauer Maria Korolkova (University of Greenwich UK) Section Four: Screening Queerness: Class Gender Sexual Orientation Ambiguity Authorit and Power 10. Interiors Class Perversity and Ambiguity in The Servant (1963) Barry Curtis (Royal College of Art UK) 11. In Plain View: London Commercial Interiors as Queer spaces in Three 1960s British Films: Victim (1961) The Leather Boys (1964) and The Killing of Sister George (1968) Andrew Stephenson (University of East London UK) 12. Queer Interiors: Derek Jarman's Caravaggio (1986) and Edward II (1992) Adam Vaughan (University of Southampton UK) Section Five: Horror and Homicide 13. The Horror of the Homicidal Floor: Destabilized Elements of Interior Architecture Alexandra Brown (Monash University Australia) and Kirsty Volz (Queensland University of Technology Australia) 14. Designed to Destroy: Action Film Interiors and the Construction of Killscapes Lennart Soberon (Ghent University Belgium) Section Six: Living in Outer Space: Sci-Fi Interiors 15. Visions of Home: Nostalgia and Mobility Past Present and Future in Serenity's Domestic Spaceship Interior Sorcha O'Brien (Kingston University UK) 16. Cosmic Heterotopia: Banality and Disjunction in the Interiors of Passengers (2016) Ersi Ioannidou (Kingston University UK) Author Biographies Index
List of Figures Acknowledgements Introduction Pat Kirkham (Kingston University UK) and Sarah A. Lichtman (Parsons School of Design USA) Section One: House and Home: Space Comfort Class Gender and Generation 1. Comfort and the Domestic Interior in Soviet Fiction Cinema of the 1920s Eleanor Rees (University of College London UK) 2. Furnishing I Love Lucy (1951-57) Marilyn Cohen (Parsons School of Design USA) 3. From the Country House Film to the House in the Country Film: Space Class and Generation Christine Geraghty (University of Glasgow UK) 4. Space Interiors and 1980s Hollywood Teen Films Patrick O'Neill (Kingston University UK) Section Two: The Curated Home 5. Mobilizing Material Culture: Collecting and Interiority in Luchino Visconti's Conversation Piece (1974) Shax Reigler (Architectural Digest USA) 6. From Sex to Narcissism: Understanding Minimalist Interiors in New York Films of the 1970s Timothy M. Rohan (University of Massachusetts Amherst USA) 7. "Home furnishing takes a cue from Paris too": The Fashion Professional at Work and Home in Postwar Hollywood Films c. 1957-1961 Rebecca C. Tuite (Bard Graduate Center USA) Section Three: Framing Interiors and Interiorities: Inside and Out 8. Framing Interiorities: Interiors Objects and Hidden Desires in Billy Wilder's The Apartment (1960) Imma Forino (Politecnico di Milano Italy) 9. Frames Veils and Windows: Modern Cinematic Set Design in Early Russian Films by Evgenii Bauer Maria Korolkova (University of Greenwich UK) Section Four: Screening Queerness: Class Gender Sexual Orientation Ambiguity Authorit and Power 10. Interiors Class Perversity and Ambiguity in The Servant (1963) Barry Curtis (Royal College of Art UK) 11. In Plain View: London Commercial Interiors as Queer spaces in Three 1960s British Films: Victim (1961) The Leather Boys (1964) and The Killing of Sister George (1968) Andrew Stephenson (University of East London UK) 12. Queer Interiors: Derek Jarman's Caravaggio (1986) and Edward II (1992) Adam Vaughan (University of Southampton UK) Section Five: Horror and Homicide 13. The Horror of the Homicidal Floor: Destabilized Elements of Interior Architecture Alexandra Brown (Monash University Australia) and Kirsty Volz (Queensland University of Technology Australia) 14. Designed to Destroy: Action Film Interiors and the Construction of Killscapes Lennart Soberon (Ghent University Belgium) Section Six: Living in Outer Space: Sci-Fi Interiors 15. Visions of Home: Nostalgia and Mobility Past Present and Future in Serenity's Domestic Spaceship Interior Sorcha O'Brien (Kingston University UK) 16. Cosmic Heterotopia: Banality and Disjunction in the Interiors of Passengers (2016) Ersi Ioannidou (Kingston University UK) Author Biographies Index
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