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Product Description
Film scholarship has largely failed to address the complex and paradoxical nature of the films of Sam Peckinpah, focusing primarily on the violence of movies such as The Wild Bunch and Straw Dogs while ignoring the poetry and gentility of lesser-known pictures including The Ballad of Cable Hogue and Junior Bonner. Serving as a necessary corrective, Gabrielle Murray's This Wounded Cinema, This Wounded Life: Violence and Utopia in the Films of Sam Peckinpah offers a better understanding of the work of this landmark director through close readings of both his famous and less-famous works. Placing them in their proper context--both aesthetically and mythologically--Murray eschews the usual debates about "screen violence" to discover the ways in which Peckinpah's films provide intense, kinetic explorations of life and death. Amid the often-discussed bloodshed, this bold new study comes to find the complicated utopian impulse that exists at the heart of even Peckinpah's most violent work.
About the Author
GABRIELLE MURRAY is a Lecturer in the Cinema Studies program at La Trobe University in Australia. She has published in several journals and edited anthologies, including Stars in Our Eyes: The Star Phenomenon and the Contemporary Era (Greenwood, 2002).
Film scholarship has largely failed to address the complex and paradoxical nature of the films of Sam Peckinpah, focusing primarily on the violence of movies such as The Wild Bunch and Straw Dogs while ignoring the poetry and gentility of lesser-known pictures including The Ballad of Cable Hogue and Junior Bonner. Serving as a necessary corrective, Gabrielle Murray's This Wounded Cinema, This Wounded Life: Violence and Utopia in the Films of Sam Peckinpah offers a better understanding of the work of this landmark director through close readings of both his famous and less-famous works. Placing them in their proper context--both aesthetically and mythologically--Murray eschews the usual debates about "screen violence" to discover the ways in which Peckinpah's films provide intense, kinetic explorations of life and death. Amid the often-discussed bloodshed, this bold new study comes to find the complicated utopian impulse that exists at the heart of even Peckinpah's most violent work.
About the Author
GABRIELLE MURRAY is a Lecturer in the Cinema Studies program at La Trobe University in Australia. She has published in several journals and edited anthologies, including Stars in Our Eyes: The Star Phenomenon and the Contemporary Era (Greenwood, 2002).
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Inside This Book
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Key Phrases - Capitalized Phrases (CAPs):
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Cable Hogue, The Wild Bunch, Pat Garrett, Alfredo Garcia, Billy the Kid, Fort Sumner, Major Dundee, Temperance Movement, Michael Bliss, Ride the High Country, Santa Fe Ring, Steve Judd, John Ford, Lorraine Mortimer, Stephen Prince, Terence Butler, Wild Cow Milking New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Cable Hogue, The Wild Bunch, Pat Garrett, Alfredo Garcia, Billy the Kid, Fort Sumner, Major Dundee, Temperance Movement, Michael Bliss, Ride the High Country, Santa Fe Ring, Steve Judd, John Ford, Lorraine Mortimer, Stephen Prince, Terence Butler, Wild Cow Milking New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 65
books:
See all 65 books this book cites
1
book
cites this book:
- Aztecs: An Interpretation (Canto) by Inga Clendinnen on 7 pages
- The World Viewed: Reflections on the Ontology of Film, Enlarged Edition by Stanley Cavell on 6 pages
- Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies by Stephen Prince on 6 pages
- Book of Bedtime Stories/08190 by Zdenek Karel Slaby on 4 pages
- Screening Violence 1 by Stephen Prince on 4 pages
See all 65 books this book cites
- Hollywood's West: The American Frontier in Film, Television, and History by Peter C. Rollins on page 336
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