product
1083755The Deer Hunterhttps://www.gandhi.com.mx/the-deer-hunter/phttps://gandhi.vtexassets.com/arquivos/ids/1141467/c80d059c-db24-4470-9472-cbbfaa8ef953.jpg?v=638337466700670000315331MXNBloomsbury PublishingInStock/Ebooks/<p>Michael Ciminos <em>The Deer Hunter</em> was met with both critical and commercial success upon its release in 1978. However, it was also highly controversial and came to be seen as a powerful statement on the human cost of Americas longest war and as a colonialist glorification of anti-Asian violence.</p><p>Brad Pragers study of the film considers its significance as a war movie and contextualizes its critical reception. Drawing on an archive of contemporaneous materials, as well as an in-depth analysis of the films lighting, mise-en-scne, multiple cameras and shifting depths of field, Prager examines how the film simultaneously presents itself as a work of cinematic realism, while problematically blurring the lines between fact and fiction. While Cimino felt he had no responsibility to historical truth, depicting a highly stylized version of his own fantasies about the Vietnam War, Prager argues that <em>The Deer Hunters</em> formal elements were used to bolster his troubling depictions of war and race.</p><p>Finally, comparing the film with later depictions of US-led intervention such as Albert and Allen Hughess <em>Dead Presidents</em> (1995) and Spike Lees <em>Da Five Bloods</em> (2020), Prager illuminates <em>The Deer Hunters</em> major presumptions, blind spots and omissions, while also presenting a case for its classic status.</p>...1076362The Deer Hunter315331https://www.gandhi.com.mx/the-deer-hunter/phttps://gandhi.vtexassets.com/arquivos/ids/1141467/c80d059c-db24-4470-9472-cbbfaa8ef953.jpg?v=638337466700670000InStockMXN99999DIEbook20239781839025426_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_<p>Michael Ciminos <em>The Deer Hunter</em> was met with both critical and commercial success upon its release in 1978. However, it was also highly controversial and came to be seen as a powerful statement on the human cost of Americas longest war and as a colonialist glorification of anti-Asian violence.</p><p>Brad Pragers study of the film considers its significance as a war movie and contextualizes its critical reception. Drawing on an archive of contemporaneous materials, as well as an in-depth analysis of the films lighting, mise-en-scne, multiple cameras and shifting depths of field, Prager examines how the film simultaneously presents itself as a work of cinematic realism, while problematically blurring the lines between fact and fiction. While Cimino felt he had no responsibility to historical truth, depicting a highly stylized version of his own fantasies about the Vietnam War, Prager argues that <em>The Deer Hunters</em> formal elements were used to bolster his troubling depictions of war and race.</p><p>Finally, comparing the film with later depictions of US-led intervention such as Albert and Allen Hughess <em>Dead Presidents</em> (1995) and Spike Lees <em>Da Five Bloods</em> (2020), Prager illuminates <em>The Deer Hunters</em> major presumptions, blind spots and omissions, while also presenting a case for its classic status.</p>...9781839025426_Bloomsbury Publishinglibro_electonico_336b068c-c979-301d-8491-4143996f41bc_9781839025426;9781839025426_9781839025426Dr BradInglésMéxico2023-09-07T00:00:00+00:00Bloomsbury Publishing