Secrets, Memory, and Imagination: Psychic Space and the Cinematic Attic
| dc.contributor.author | Pheasant-Kelly, Frances | |
| dc.contributor.editor | Andrews, Eleanor | |
| dc.contributor.editor | Hockenhall, Stella | |
| dc.date.accessioned | 2016-11-07T12:32:13Z | |
| dc.date.available | 2016-11-07T12:32:13Z | |
| dc.date.issued | 2015-08 | |
| dc.identifier.citation | In: Eleanor Andrews (Editor), Stella Hockenhull (Editor), Fran Pheasant-Kelly (Editor); Chapter 14, p194 | |
| dc.identifier.isbn | 9781138791657 | |
| dc.identifier.uri | http://hdl.handle.net/2436/620265 | |
| dc.description.abstract | The book this chapter is from 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.description.sponsorship | University of Wolverhampton | |
| dc.language.iso | en | |
| dc.publisher | Routeledge | |
| dc.relation.url | https://www.taylorfrancis.com/books/e/9781315762616/chapters/10.4324/9781315762616-15 | |
| dc.subject | fantasy | |
| dc.subject | attic | |
| dc.subject | domestic space | |
| dc.subject | memory | |
| dc.title | Secrets, Memory, and Imagination: Psychic Space and the Cinematic Attic | |
| dc.type | Chapter in book | |
| pubs.edition | 1st Edition | |
| pubs.place-of-publication | New York, US | |
| dc.source.beginpage | 194 | |
| dc.source.endpage | 209 | |
| html.description.abstract | The book this chapter is from 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. |