Picture 1 of 13

Stock photo

Engaging Characters: Fiction, Emotion, and the Cinema - Murray Smith - Picture 1 of 13

Engaging Characters: Fiction, Emotion, and the Cinema - Murray Smith - Picture 2 of 13

Engaging Characters: Fiction, Emotion, and the Cinema - Murray Smith - Picture 3 of 13

Engaging Characters: Fiction, Emotion, and the Cinema - Murray Smith - Picture 4 of 13

Engaging Characters: Fiction, Emotion, and the Cinema - Murray Smith - Picture 5 of 13

Engaging Characters: Fiction, Emotion, and the Cinema - Murray Smith - Picture 6 of 13

Engaging Characters: Fiction, Emotion, and the Cinema - Murray Smith - Picture 7 of 13

Engaging Characters: Fiction, Emotion, and the Cinema - Murray Smith - Picture 8 of 13

Engaging Characters: Fiction, Emotion, and the Cinema - Murray Smith - Picture 9 of 13

Engaging Characters: Fiction, Emotion, and the Cinema - Murray Smith - Picture 10 of 13

Engaging Characters: Fiction, Emotion, and the Cinema - Murray Smith - Picture 11 of 13

Engaging Characters: Fiction, Emotion, and the Cinema - Murray Smith - Picture 12 of 13

Engaging Characters: Fiction, Emotion, and the Cinema - Murray Smith - Picture 13 of 13

Engaging Characters: Fiction, Emotion, and the Cinema by Murray Smith (Paperback, 1995)

bargainretro (474)

100% positive Feedback

Price:

£5.43

+ £2.94 postage

Estimated delivery Tue, 22 Jul - Sat, 26 Jul

Returns:

No returns, but backed by the eBay Money Back Guarantee.

Condition:

Very Good

Paperback. Great condition for age. Unbroken spine. Small dent to front cover. Unmarked, clean pages throughout.

About this product

Product Information

Thrillers, weepies, horror movies and melodramas evoke characteristic kinds of emotional response, yet emotion is not much examined by film or literary theory. This work discusses emotional responses to films, integrating them into a theory of engagement, or identification with, characters in cinematic and literary fictions. Films and filmmakers discussed include: The Accused ; Hitchcock (including detailed analyses of The Man Who Knew Too Much and Saboteur ); Godard; Ruiz; Bunuel's That Obscure Object of Desire ; Dovzhenko's Arsenal ; Preminger's Daisy Kenyon ; Bresson's L'Argent ; Eisenstein's Strike ; and Melville's Le Doulos . This book should be of interest to students of film, cultural, literary and media studies, as well as students of literary theory and philosophy.