
Reading Hollywood
Spaces and Meanings in American Film
Deborah Thomas(Author)
Wallflower Press
Published on 15. October 2001
Book
Paperback/Softback
144 pages
978-1-903364-01-7 (ISBN)
Description
This book examines the treatment of space and narrative in a selection of classic films including My Darling Clementine, It's a Wonderful Life, and Vertigo. Deborah Thomas employs a variety of arguments in exploring the reading of space and its meaning in Hollywood cinema and film generally. Topics covered include the importance of space in defining genre (such as the necessity of an urban landscape for a gangster film to be a gangster film); the ambiguity of offscreen space and spectatorship (how an audience reads an unseen but inferred setting), and the use of spatially disruptive cinematic techniques such as flashback to construct meaning.
More details
Language
English
Place of publication
London
United Kingdom
Target group
Professional and scholarly
Product notice
Paperback (trade)
Dimensions
Height: 214 mm
Width: 139 mm
Thickness: 9 mm
Weight
198 gr
ISBN-13
978-1-903364-01-7 (9781903364017)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions

E-Book
07/2019
WallFlower Press
€20.49
Available for download
Person
Deborah Thomas is reader in film studies at the University of Sunderland, UK and a member of the editorial board of Movie.
Content
List of Illustrations
Acknowledgements
Introduction
1. Settings: Geography, Architecture, Decor
2. Dramaturgical Spaces: Onstage and Offstage, Public and Private
3. Cinematic Spaces: Background and Foreground, Onscreen and Offscreen
4. The Space of the Spectator: Diegetic and Non-Diegetic, Virtual and Real
Conclusion
Filmography
Bibliography
Acknowledgements
Introduction
1. Settings: Geography, Architecture, Decor
2. Dramaturgical Spaces: Onstage and Offstage, Public and Private
3. Cinematic Spaces: Background and Foreground, Onscreen and Offscreen
4. The Space of the Spectator: Diegetic and Non-Diegetic, Virtual and Real
Conclusion
Filmography
Bibliography