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Screen Hustles, Grifts and Stings = ...
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Screen Hustles, Grifts and Stings = Stings, Grifts, Hustles and the Long Con /
Record Type:
Language materials, printed : Monograph/item
Title/Author:
Screen Hustles, Grifts and Stings/ by A. Sargeant.
Reminder of title:
Stings, Grifts, Hustles and the Long Con /
Author:
Sargeant, A.
Description:
VI, 98 p.online resource. :
Contained By:
Springer Nature eBook
Subject:
Communication. -
Online resource:
https://doi.org/10.1057/9781137466891
ISBN:
9781137466891
Screen Hustles, Grifts and Stings = Stings, Grifts, Hustles and the Long Con /
Sargeant, A.
Screen Hustles, Grifts and Stings
Stings, Grifts, Hustles and the Long Con /[electronic resource] :by A. Sargeant. - 1st ed. 2016. - VI, 98 p.online resource.
Screen Hustles, Grifts and Stings identifies recurrent themes and techniques of the con film, suggests precedents in literature and discusses the perennial appeal of the con man for readers and viewers alike. Core studies span from film (Catch Me If You Can, Paper Moon, House of Games) to television (Hustle), from Noir (The Grifters) to Romantic Comedy (Gambit). Frequently, the execution of the con is only finely distinguishable from the conduct of a legitimate profession and, challengingly, a mark is often shown to be culpable in his or her undoing. The best con films, it is suggested, invite re-watching and reward the viewer accordingly: who is complicit and when? How and where is the con achieved? When is the viewer party to the con? And what, if any, moral is to be drawn?
ISBN: 9781137466891
Standard No.: 10.1057/9781137466891doiSubjects--Topical Terms:
556422
Communication.
LC Class. No.: P87-96
Dewey Class. No.: 302.23
Screen Hustles, Grifts and Stings = Stings, Grifts, Hustles and the Long Con /
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Screen Hustles, Grifts and Stings identifies recurrent themes and techniques of the con film, suggests precedents in literature and discusses the perennial appeal of the con man for readers and viewers alike. Core studies span from film (Catch Me If You Can, Paper Moon, House of Games) to television (Hustle), from Noir (The Grifters) to Romantic Comedy (Gambit). Frequently, the execution of the con is only finely distinguishable from the conduct of a legitimate profession and, challengingly, a mark is often shown to be culpable in his or her undoing. The best con films, it is suggested, invite re-watching and reward the viewer accordingly: who is complicit and when? How and where is the con achieved? When is the viewer party to the con? And what, if any, moral is to be drawn?
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Literature, Cultural and Media Studies (R0) (SpringerNature-43723)
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