Peas, Parsnips and Patriotism: Images of the Garden in films of the Second World War
dc.contributor.author | HOCKENHULL, STELLA | |
dc.contributor.editor | Andrews, Eleanor | |
dc.contributor.editor | Pheasant-Kelly, Fran | |
dc.date.accessioned | 2016-09-13T14:28:04Z | |
dc.date.available | 2016-09-13T14:28:04Z | |
dc.date.issued | 2016 | |
dc.identifier.citation | In: Eleanor Andrews, Stella Hockenhull, Fran Pheasant-Kelly (eds); Spaces of the Cinematic Home Behind the Screen Door; chapter 2 | |
dc.identifier.isbn | 9781138791657 | |
dc.identifier.uri | http://hdl.handle.net/2436/620092 | |
dc.description.abstract | This book examines the ways in which the house appears in films and the modes by which it moves beyond being merely a backdrop for action. Specifically, it explores the ways that domestic spaces carry inherent connotations that filmmakers exploit to enhance meanings and pleasures within film. Rather than simply examining the representation of the house as national symbol, auteur trait, or in terms of genre, contributors study various rooms in the domestic sphere from an assortment of time periods and from a diversity of national cinemas—from interior spaces in ancient Rome to the Chinese kitchen, from the animated house to the metaphor of the armchair in film noir. | |
dc.language.iso | en | |
dc.publisher | Routeledge | |
dc.relation.url | https://www.taylorfrancis.com/books/e/9781315762616 | |
dc.subject | Michael Powell | |
dc.subject | Emeric Pressburger | |
dc.subject | A Canterbury Tale | |
dc.subject | Went the Day Well | |
dc.subject | Romantic | |
dc.subject | Dig for Victory | |
dc.subject | Second World War, | |
dc.subject | Home Front | |
dc.title | Peas, Parsnips and Patriotism: Images of the Garden in films of the Second World War | |
dc.type | Chapter in book | |
pubs.place-of-publication | 1st Edition | |
pubs.place-of-publication | New York, US | |
dc.source.beginpage | 32 | |
dc.source.endpage | 44 | |
html.description.abstract | This book examines the ways in which the house appears in films and the modes by which it moves beyond being merely a backdrop for action. Specifically, it explores the ways that domestic spaces carry inherent connotations that filmmakers exploit to enhance meanings and pleasures within film. Rather than simply examining the representation of the house as national symbol, auteur trait, or in terms of genre, contributors study various rooms in the domestic sphere from an assortment of time periods and from a diversity of national cinemas—from interior spaces in ancient Rome to the Chinese kitchen, from the animated house to the metaphor of the armchair in film noir. |