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Screen hustles, grifts and stings

Sargeant, Amy.

Screen hustles, grifts and stings

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Screen hustles, grifts and stings/ by Amy Sargeant.
作者:	Sargeant, Amy.
出版者:	London :Palgrave Macmillan UK : : 2016.,
面頁冊數:	vi, 98 p. :ill., digital ; : 23 cm.;
Contained By:	Springer eBooks
標題:	Swindlers and swindling in motion pictures. -
電子資源:	http://dx.doi.org/10.1057/9781137466891
ISBN:	9781137466891

Screen hustles, grifts and stings
Sargeant, Amy.

Screen hustles, grifts and stings[electronic resource] /by Amy Sargeant. - London :Palgrave Macmillan UK :2016. - vi, 98 p. :ill., digital ;23 cm.

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:

1110823
Swindlers and swindling in motion pictures.

LC Class. No.: PN1995.9.S95 / S27 2016

Dewey Class. No.: 791.436556

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520 $a 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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