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The Best Laid Plans : Interrogating the Heist Film.

By: Contributor(s): Material type: TextTextSeries: Contemporary Approaches to Film and Media SeriesPublisher: Detroit : Wayne State University Press, 2017Copyright date: ©2017Edition: 1st edDescription: 1 online resource (269 pages)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780814342251
Subject(s): Genre/Form: Additional physical formats: Print version:: The Best Laid PlansDDC classification:
  • 791.436556
LOC classification:
  • PN1995.9.C66 .B478 2017
Online resources:
Contents:
Cover -- Title Page -- Copyright -- Dedication -- Contents -- Acknowledgments -- Introduction: . . . of Heists and Men -- 1. The International Heist Film -- All for Naught: The American Heist Film in the Fifties -- "What Price Glory?": Postwar British Heist Films -- The Joy of Burglary: Wealth Relocation Strategies and Other Entertainments in the Postwar French Policier -- From Nickel Mines to Plastic Vaginas: The Heist Genre in Canadian Cinema -- 2. Gender, Race, and Class in the Heist Film -- Men, Women, and the Heist Film -- Masculinity, Morality, and Action: Michael Mann and the Heist Movie -- Hollywood and the Black Stickup: Race and the Meaning of the Heist on the Big White Screen -- The Inevitability of Failure: The Small-Time Criminal and the Heist Film -- 3. The Aesthetics and Ideology of the Heist Film -- Economic Sentiments in Kubrick's The Killing and Furukawa's Cruel Gun Story -- Heists and "Eye-sts": Sense and Sensuality in the Aesthetic Experience of the Heist Film -- The Galerie Imaginaire of Steven Soderbergh's Ocean's Trilogy: Modernist Painting in the Contemporary Heist Film -- September 11 as Heist -- Select Filmography -- Works Cited -- Contributors -- Index.
Summary: Explores the significance of the heist film genre.
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Cover -- Title Page -- Copyright -- Dedication -- Contents -- Acknowledgments -- Introduction: . . . of Heists and Men -- 1. The International Heist Film -- All for Naught: The American Heist Film in the Fifties -- "What Price Glory?": Postwar British Heist Films -- The Joy of Burglary: Wealth Relocation Strategies and Other Entertainments in the Postwar French Policier -- From Nickel Mines to Plastic Vaginas: The Heist Genre in Canadian Cinema -- 2. Gender, Race, and Class in the Heist Film -- Men, Women, and the Heist Film -- Masculinity, Morality, and Action: Michael Mann and the Heist Movie -- Hollywood and the Black Stickup: Race and the Meaning of the Heist on the Big White Screen -- The Inevitability of Failure: The Small-Time Criminal and the Heist Film -- 3. The Aesthetics and Ideology of the Heist Film -- Economic Sentiments in Kubrick's The Killing and Furukawa's Cruel Gun Story -- Heists and "Eye-sts": Sense and Sensuality in the Aesthetic Experience of the Heist Film -- The Galerie Imaginaire of Steven Soderbergh's Ocean's Trilogy: Modernist Painting in the Contemporary Heist Film -- September 11 as Heist -- Select Filmography -- Works Cited -- Contributors -- Index.

Explores the significance of the heist film genre.

Description based on publisher supplied metadata and other sources.

Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.

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