Differences in the dark : American movies and English theater
著者
書誌事項
Differences in the dark : American movies and English theater
Columbia University Press, c1998
大学図書館所蔵 全20件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references and index
内容説明・目次
内容説明
George Bernard Shaw once quipped that America and England are two cultures separated by a common language. In this innovative attempt to place the movies and theater in the larger context of American and English cultural differences, Michael Gilmore demonstrates that the most interesting way to understand the distinctions between the two cultures is by looking closely at each country's favorite art form. Differences in the Dark is a fresh, wide-ranging look at the meaning of America's fascination with movies and movie stars, and the way the soul of Britain is reflected in its tenacious love affair with the stage. Gilmore shows how the characteristic features of American experience are inscribed in how movies, the quintessentially American idiom, are made and viewed. In the private, solitary nature of film-viewing (in contrast to the more communal, interactive experience of seeing a play), and in American actors' tendency to play themselves, not their characters, from role to role, American movies express a strong sense of individualism and a tendency to escape the limits of time for the freedom of space.
An art form built of sophisticated technology and cutting and splicing of time and space, Gilmore argues, resonates deeply in the country of reinvented lives and wide-open spaces. At the same time, the English tradition of class and collective memory is perfectly served by an art form that requires disciplined memorization and the submergence of the individual within a role that, in many cases, existed before the actor was born. Unlike the mechanical products of Hollywood or Disneyland, drama by its very nature cannot be mass-produced. Bringing together such diverse topics as theme parks, realism, and social class, as well as the role of Jewish immigrants in the making of Hollywood (and their virtual exclusion from Great Britain) and the connection between the movies and the African-American community, Differences in the Dark is one of the most original and engaging cross-cultural studies to appear in many years.
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