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portada Beggars and Thieves: Lives of Urban Street Criminals: Ethnography of Urban Street Criminals (Writing: History, Poetics, Cultural Crit)
Type
Physical Book
Year
1995
Language
English
Pages
348
Format
Paperback
Dimensions
23.2x15.3x2 cm
Weight
0.48 kg.
ISBN
0299147746
ISBN13
9780299147747

Beggars and Thieves: Lives of Urban Street Criminals: Ethnography of Urban Street Criminals (Writing: History, Poetics, Cultural Crit)

Mark S. Fleisher (Author) · University of Wisconsin Press · Paperback

Beggars and Thieves: Lives of Urban Street Criminals: Ethnography of Urban Street Criminals (Writing: History, Poetics, Cultural Crit) - Fleisher, Mark S.

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Synopsis "Beggars and Thieves: Lives of Urban Street Criminals: Ethnography of Urban Street Criminals (Writing: History, Poetics, Cultural Crit) "

The years 1907-1913 mark a crucial transitional moment in American cinema. As moving picture shows changed from mere novelty to an increasingly popular entertainment, fledgling studios responded with longer running times and more complex storytelling. A growing trade press and changing production procedures also influenced filmmaking. In Early American Cinema in Transition, Charlie Keil looks at a broad cross-section of fiction films to examine the formal changes in cinema of this period and the ways that filmmakers developed narrative techniques to suit the fifteen-minute, one-reel format. Keil outlines the kinds of narratives that proved most suitable for a single reel's duration, the particular demands that time and space exerted on this early form of film narration, and the ways filmmakers employed the unique features of a primarily visual medium to craft stories that would appeal to an audience numbering in the millions. He underscores his analysis with a detailed look at six films: The Boy Detective; The Forgotten Watch; Rose O'Salem-Town; Cupid's Monkey Wrench; Belle Boyd, A Confederate Spy; and Suspense.

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All books in our catalog are Original.
The book is written in English.
The binding of this edition is Paperback.

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