Another Frank Capra offers a new interpretation of the great Hollywood director beyond the patriotic sentimentalist or the cynical opportunist that he has been taken for. Often cast as a cinematic simpleton or primitive, Capra's exploitation of the stylistic and narrative resources of cinema was, in fact, extremely self-conscious and adventurous in ways typical of artistic modernism. His modernism is also evident in his repeated and strong identification with female characters. Informed by recent work in genre theory and feminist psychology, Another Frank Capra shows Capra to be a 'proto-feminist' director whose feminism has been entirely neglected by previous critics.
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"Grounded in genre and gender theories and feminist psychology, this study is supplemented by notes and some frame enlargements....Recommended for upper-division undergraduates, graduate students, researchers and faculty." Choice
Book Description
Another Frank Capra offers a new interpretation of the great Hollywood director beyond the patriotic sentimentalist or the cynical opportunist that he has been taken for. Often cast as a cinematic simpleton or primitive, Capra's exploitation of the stylistic and narrative resources of cinema was, in fact, extremely self-conscious and adventurous in ways typical of artistic modernism.
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Inside This Book
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First Sentence:
The Preface sketches a strategy for "defamiliarizing" the films of Frank Capra on the premise that the currently familiar understandings of them are no longer intellectually satisfying. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
populist trilogy, remarriage comedy, classical narrative cinema, courtroom sequence, mutual attunement, classical narration, lost horizon, montage sequences, name above the title, depicted world, film style, screwball comedy, film criticism, melodramatic imagination Key Phrases - Capitalized Phrases (CAPs): (learn more)
Meet John Doe, Frank Capra, George Bailey, Bedford Falls, Deeds Goes, Long John, Ann Mitchell, Smith Goes, American Madness, Babe Bennett, Grandpa Vanderhof, Bitter Tea, Jeff Smith, Longfellow Deeds, Willet Creek, Father Perrault, Jefferson Smith, Peter Bailey, Raymond Carney, Clarissa Saunders, Lulu Smith, Barbara Stanwyck, Miss Stone, Buffalo Gals, Susan Paine New!
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Front Cover | Table of Contents | First Pages | Index | Surprise Me!
The Preface sketches a strategy for "defamiliarizing" the films of Frank Capra on the premise that the currently familiar understandings of them are no longer intellectually satisfying. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
populist trilogy, remarriage comedy, classical narrative cinema, courtroom sequence, mutual attunement, classical narration, lost horizon, montage sequences, name above the title, depicted world, film style, screwball comedy, film criticism, melodramatic imagination Key Phrases - Capitalized Phrases (CAPs): (learn more)
Meet John Doe, Frank Capra, George Bailey, Bedford Falls, Deeds Goes, Long John, Ann Mitchell, Smith Goes, American Madness, Babe Bennett, Grandpa Vanderhof, Bitter Tea, Jeff Smith, Longfellow Deeds, Willet Creek, Father Perrault, Jefferson Smith, Peter Bailey, Raymond Carney, Clarissa Saunders, Lulu Smith, Barbara Stanwyck, Miss Stone, Buffalo Gals, Susan Paine New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Surprise Me!
Citations (learn more)
This book cites 62
books:
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15
books
cite this book:
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- Meet John Doe on 6 pages
- The Claim of Reason: Wittgenstein, Skepticism, Morality, and Tragedy by Stanley Cavell on 6 pages
- It's a Wonderful Life by Jimmy Stewart on 4 pages
- Pursuits of Happiness: The Hollywood Comedy of Remarriage (Harvard Film Studies) by Stanley Cavell on 4 pages
- Narration in the Fiction Film by David Bordwell in Back Matter (1), Back Matter (2), and Back Matter (3)
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- In Capra's Shadow: The Life and Career of Screenwriter Robert Riskin by Ian Scott on 5 pages
- Hollywood Renaissance: The Cinema of Democracy in the Era of Ford, Capra, and Kazan by Sam B. Girgus in Back Matter (1), Back Matter (2), and Back Matter (3)
- Class, Language, and American Film Comedy by Christopher Beach in Back Matter (1), and Back Matter (2)
- Contending with Stanley Cavell by Russell B. Goodman on page 137, and page 138
- From Antz To Titanic: Reinventing Film Analysis by Martin Barker in Back Matter (1), and Back Matter (2)
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