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dc.contributor.authorHOCKENHULL, STELLA
dc.date.accessioned2016-09-13T14:28:04Z
dc.date.available2016-09-13T14:28:04Z
dc.date.issued2016
dc.identifier.citationIn: Eleanor Andrews, Stella Hockenhull, Fran Pheasant-Kelly (eds); Spaces of the Cinematic Home Behind the Screen Door; chapter 2
dc.identifier.isbn9781138791657
dc.identifier.urihttp://hdl.handle.net/2436/620092
dc.description.abstractThis 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.isoen
dc.publisherRouteledge
dc.relation.urlhttps://www.routledge.com/Spaces-of-the-Cinematic-Home-Behind-the-Screen-Door/Andrews-Hockenhull-Pheasant-Kelly/p/book/9781138791657
dc.subjectMichael Powell
dc.subjectEmeric Pressburger
dc.subjectA Canterbury Tale
dc.subjectWent the Day Well
dc.subjectRomantic
dc.subjectDig for Victory
dc.subjectSecond World War,
dc.subjectHome Front
dc.titlePeas, Parsnips and Patriotism: Images of the Garden in films of the Second World War
dc.typeBook chapter
html.description.abstractThis 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.


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