{"id":355,"date":"2024-07-26T15:01:46","date_gmt":"2024-07-26T03:01:46","guid":{"rendered":"https:\/\/blogs.otago.ac.nz\/visualstudies\/?p=355"},"modified":"2024-08-18T14:45:09","modified_gmt":"2024-08-18T02:45:09","slug":"new-book-by-alistair-fox-now-in-paperback","status":"publish","type":"post","link":"https:\/\/blogs.otago.ac.nz\/visualstudies\/new-book-by-alistair-fox-now-in-paperback\/","title":{"rendered":"New book by Alistair Fox now in paperback"},"content":{"rendered":"

\"\"<\/p>\n

 <\/p>\n

NOW IN PAPERBACK<\/span><\/span><\/p>\n

List of Figures; Preface; Acknowledgments; Introduction;<\/span><\/span><\/p>\n

1. Italian Neorealism and the Emergence of the Male Melodrama: Vittorio De Sica\u2019s\u00a0<\/span>Bicycle Thieves<\/i>\u00a0<\/span>(1948) and\u00a0<\/span>Umberto D.<\/i>\u00a0<\/span>(1952)<\/span><\/span><\/p>\n

2. The Migration of Male Melodrama into Non-Western Cultures: Satyajit Ray\u2019s The Apu Trilogy (1955\u201359) and \u201cFourth Cinema\u201d<\/span><\/span><\/p>\n

3. Hollywood Melodrama as a Vehicle for Self-Projection: Vincente Minnelli\u2019s\u00a0<\/span>Tea and Sympathy<\/i>\u00a0<\/span>(1956) and\u00a0<\/span>Home from the Hill<\/i>\u00a0<\/span>(1960)<\/span><\/span><\/p>\n

4. The Political Turns Personal: Neo-Neorealism and Pier Paolo Pasolini\u2019s\u00a0<\/span>Accattone<\/i>\u00a0<\/span>(1961)<\/span><\/span><\/p>\n

5. Personal Cinema as Psychodrama: Ingmar Bergman\u2019s\u00a0<\/span>Wild Strawberries<\/i>\u00a0<\/span>(1957),\u00a0<\/span>Winter Light<\/i>\u00a0<\/span>(1963) and\u00a0<\/span>Hour of the Wolf<\/i>\u00a0<\/span>(1968)<\/span><\/span><\/p>\n

6. Fran\u00e7ois Truffaut and the Tyranny of Romantic Obsession:\u00a0<\/span>The Soft Skin<\/i>\u00a0<\/span>(1964),\u00a0<\/span>Mississippi Mermaid<\/i>\u00a0<\/span>(1969) and\u00a0<\/span>The Woman Next Door<\/i>\u00a0<\/span>(1981)<\/span><\/span><\/p>\n

7. Figuring an Authorial Fantasmatic: Jacques Demy\u2019s\u00a0<\/span>The Umbrellas of Cherbourg<\/i>\u00a0<\/span>(1964),\u00a0<\/span>A Room In Town<\/i>\u00a0<\/span>(1982) and\u00a0<\/span>Parking<\/i>\u00a0<\/span>(1985)<\/span><\/span><\/p>\n

8. Rainer Werner Fassbinder and the Emergence of Queer Cinema:\u00a0<\/span>The Merchant of Four Seasons<\/i>\u00a0<\/span>(1972),\u00a0<\/span>Fox and His Friends<\/i>\u00a0<\/span>(1975) and\u00a0<\/span>In a Year with 13 Moons<\/i>\u00a0<\/span>(1978)<\/span><\/span><\/p>\n

9. Visual Aestheticism and the Queer Prestige Melodrama:\u00a0<\/span>Call Me by Your Name<\/i>\u00a0<\/span>(2017) and Luca Guadagnino\u2019s Desire Trilogy; Conclusion<\/span><\/span><\/p>\n

List of Films Cited; Select Bibliography; Index.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

  NOW IN PAPERBACK List of Figures; Preface; Acknowledgments; Introduction; 1. Italian Neorealism and the Emergence of the Male Melodrama: Vittorio De Sica\u2019s\u00a0Bicycle Thieves\u00a0(1948) and\u00a0Umberto D.\u00a0(1952) 2. The Migration of Male Melodrama into Non-Western Cultures: Satyajit Ray\u2019s The Apu Trilogy (1955\u201359) and \u201cFourth Cinema\u201d 3. Hollywood Melodrama as a Vehicle for Self-Projection: Vincente Minnelli\u2019s\u00a0Tea and […]<\/p>\n","protected":false},"author":39982,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-355","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/posts\/355","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/users\/39982"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/comments?post=355"}],"version-history":[{"count":0,"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/posts\/355\/revisions"}],"wp:attachment":[{"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/media?parent=355"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/categories?post=355"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.otago.ac.nz\/visualstudies\/wp-json\/wp\/v2\/tags?post=355"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}