000			03231cam a2200445 i 4500
001			on1452741847
003			OCoLC
005			20241121072824.0
006			m d
007			cr cnu|||unuuu
008			240820s2012 gw ob 000 0 eng d
040			_aN$T _beng _erda _epn _cN$T _dN$T
020			_a9783838258126 _q(electronic bk.)
020			_a3838258126 _q(electronic bk.)
035			_a2416301 _b(N$T)
035			_a(OCoLC)1452741847
050		4	_aPN1995.9.P27 _bS39 2012
082	0	4	_a791.43611 _223/eng/20240827
049			_aMAIN
100	1		_aSchwarz, Eva, _eauthor. _913626
245	1	0	_aVisual paranoia in Rear window, Blow-up and the Truman show / _cEva Schwarz.
264		1	_aStuttgart : _bIbidem-Verlag, _c[2012]
300			_a1 online resource (144 pages) : _billustrations.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
588			_aDescription based on print version record.
504			_aIncludes bibliographical references (pages 139-144).
520			_a"Against the backdrop of recent postmodern discourse on cultural theory, Eva Schwarz provides a gripping analysis of the concept of what she describes as visual paranoia. Her study is based on a detailed analysis of three films: Alfred Hitchcock's Rear Window (USA, 1954), Michelangelo Antonioni's Blow-up (GB, 1966) and Peter Weir's The Truman Show (USA, 1998). The starting point of all three analyses is the representation of the postmodern media and information age as an incisive culture of the visual, which coincides with the general socio-political trend of cultural paranoia, the roots of which are to be found in American politics and society of the late 1940s and which has since permeated Anglo-American culture. The discourse on the truthfulness of images, the reality of visual representations and the visual as such forms the context out of which the theory of the development of visual paranoia arises. While other paranoia films, usually thrillers or science fiction films, concern themselves with the sociopolitical manifestation of cultural paranoia, the three films chosen for Schwarz's study focus on the fundamental crisis of the visual as such, from scopophilic paranoia in Rear Window to photographic paranoia in Blow-Up, culminating in the scopophobic manifestation of visual paranoia in The Truman Show. The once valid saying, "seeing is believing", can no longer be taken for granted. In postmodern times, the visual cannot be trusted any more."--Back cover.
590			_aWorldCat record variable field(s) change: 050, 082, 630, 650
630	0	0	_aRear window (Motion picture : 1954) _913627
630	0	0	_aBlowup. _913628
630	0	0	_aTruman show (Motion picture) _913629
650		0	_aParanoia in motion pictures. _913630
650		0	_aVoyeurism in motion pictures. _913631
776	0	8	_iPrint version: _aSchwarz, Eva. _tVisual paranoia in Rear window, Blow-up and the Truman show. _dStuttgart : Ibidem-Verlag, 2011 _z9783898218122 _w(OCoLC)799201241
856	4	0	_3EBSCOhost _uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2416301
938			_aEBSCOhost _bEBSC _n2416301
994			_a92 _bN$T
999			_c7394 _d7394