Details
A Critical Companion to James Cameron
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CHF 95.00 |
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| Verlag: | Lexington Books |
| Format: | EPUB |
| Veröffentl.: | 26.10.2018 |
| ISBN/EAN: | 9781498572316 |
| Sprache: | englisch |
| Anzahl Seiten: | 244 |
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Beschreibungen
<p><span>This book offers a comprehensive, academic and detailed study of the works of James Cameron, whose films include successful productions such as the first two </span><span>Terminato</span><span>r films (1984-91), </span><span>Aliens</span><span> (1986), </span><span>Titanic</span><span> (1997), and </span><span>Avatar</span><span> (2009), but also lesser known films such as </span><span>Piranha 2: The Spawning</span><span> (1981), </span><span>The Abyss</span><span> (1989), and </span><span>True Lies</span><span> (1994), and a series of documentaries on the depths of the ocean or on the tomb of Christ. Cameronʼs major productions have an immense and enduring popularity throughout the globe and have attracted both public and critical attention. This volume investigates several distinct areas of Cameronʼs works and addresses the different approaches and topics invited by the multidimensionality of the subject itself: the philosophical, the artistic, the socio-cultural and the personal. The methodologies adopted by the contributors differ significantly from each other, thus offering the reader a variegated and compelling picture of Cameronʼs oeuvre. Contrary to the numerous volumes published in the past on the subject, each chapter offers specific case studies that have been previously ignored, or only partially mentioned, by other scholars. </span></p>
<span>This book is a comprehensive, current scholarly analysis of the works of one of the world’s most renowned and successful filmmakers. Written by some of the top scholars working in film and media studies, philosophy, and literature, the seventeen chapters in this book illuminate the entire artistic career of James Cameron.</span>
<p><span>Chapter One: We Must Not Forget about the Flying Fish: </span><span>Piranha II</span><span>’s Influence on Cameron’s Subsequent Works </span><br><br></p>
<p><span>Ian Thomas Malone and Antonio Sanna </span><br><br></p>
<p><span>Chapter Two: </span><span>Reframing Tragedy: </span><span>Titanic</span><span>, Affect and the Arresting Image</span><br><br></p>
<p><span>Fran Pheasant-Kelly </span><br><br></p>
<p><span>Chapter Three: Exploration, Education and Humanity: James Cameron’s Deep-Sea Documentaries</span><br><br></p>
<p><span>Alissa Burger </span><br><br></p>
<p><span>Chapter Four: </span><span>Avatar</span><span>, SF Mannerism and the Anthropocene</span><br><br></p>
<p><span>Maurizia Natali</span><span> </span><br><br></p>
<p><span>Chapter Five: She’s the ‘King of the World!’ Modernizing Melodrama in </span><span>Titanic</span><br><br></p>
<p><span>Carol Donelan</span><br><br></p>
<p><span>Chapter Six: Losing Touch or Making More Contact? Cameron’s Use of Technology and Visual Effects</span><br><br></p>
<p><span>Paul Johnson </span><br><br></p>
<p><span>Chapter Seven: </span><span>The Exodus Decoded, The Lost Tomb of Jesus</span><span> and the Problem of History for Faith</span><br><br></p>
<p><span>Jonathan Fischer and Adam Barkman</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Eight: No Fate: James Cameron, Jesus, and John </span><span>Connor</span><br><br></p>
<p><span>Racheal Harris </span><br><br></p>
<p><span>Chapter Nine: </span><span>The Simulated Sublime: Exploring Hollywood Ecocriticism in </span><span>Avatar</span><br><br></p>
<p><span>Siobhan Lyons</span><br><br></p>
<p><span>Chapter Ten: The Backlash and Empowerment of Feminism in </span><span>Xenogenesis</span><span>, </span><span>Piranha II: The Spawning</span><span>, and </span><span>Aliens</span><br><br></p>
<p><span>Fernando Gabriel Pagnoni Berns</span><br><br></p>
<p><span>Chapter Eleven: Taking Gettier to Tasker: </span><span>True Lies</span><span>, Knowledge, and the Prospects of Virtue Epistemology</span><br><br></p>
<p><span>Michael Versteeg and Adam Barkman</span><br><br></p>
<p><span>Chapter Twelve: “I Wanted to Do Something Outrageous”: On the Limits of Parody in </span><span>True Lies</span><br><br></p>
<p><span>Russell P. Johnson and Naaman K. Wood </span><br><br></p>
<p><span>Section III: The Futurist</span><br><br></p>
<p><span>Chapter Thirteen: Genetically Modified Human Beings in </span><span>Dark Angel</span><br><br></p>
<p><span>Sabine Planka</span><br><br></p>
<p><span>Chapter Fourteen: Of Shape-Shifters and Shifting Alliances: The Politics of the </span><span>Terminator </span><span>Franchise</span><br><br></p>
<p><span>Patrick Zwosta </span><br><br></p>
<p><span>Chapter Fifteen</span><span>: </span><span>An Abyss of Aliens: Action, Allegory and Mythological Elements in </span><span>Aliens</span><span> and </span><span>The Abyss</span><br><br></p>
<p><span>Carl H. Sobocinski </span><br><br></p>
<p><span>Chapter Sixteen: Refining Genre, Reassessing Gender: Assessing the Sacrificial Heroine in the Works of James Cameron</span><br><br></p>
<p><span>Christian Jimenez</span><br><br></p>
<p><span>Chapter Seventeen: “Two Candles in the Dark”: James Cameron’s Modern Fairy Tales</span><br><br></p>
<p><span>Elsa Columbani</span></p>
<p><span>Ian Thomas Malone and Antonio Sanna </span><br><br></p>
<p><span>Chapter Two: </span><span>Reframing Tragedy: </span><span>Titanic</span><span>, Affect and the Arresting Image</span><br><br></p>
<p><span>Fran Pheasant-Kelly </span><br><br></p>
<p><span>Chapter Three: Exploration, Education and Humanity: James Cameron’s Deep-Sea Documentaries</span><br><br></p>
<p><span>Alissa Burger </span><br><br></p>
<p><span>Chapter Four: </span><span>Avatar</span><span>, SF Mannerism and the Anthropocene</span><br><br></p>
<p><span>Maurizia Natali</span><span> </span><br><br></p>
<p><span>Chapter Five: She’s the ‘King of the World!’ Modernizing Melodrama in </span><span>Titanic</span><br><br></p>
<p><span>Carol Donelan</span><br><br></p>
<p><span>Chapter Six: Losing Touch or Making More Contact? Cameron’s Use of Technology and Visual Effects</span><br><br></p>
<p><span>Paul Johnson </span><br><br></p>
<p><span>Chapter Seven: </span><span>The Exodus Decoded, The Lost Tomb of Jesus</span><span> and the Problem of History for Faith</span><br><br></p>
<p><span>Jonathan Fischer and Adam Barkman</span><br><br></p>
<p><br><br></p>
<p><span>Chapter Eight: No Fate: James Cameron, Jesus, and John </span><span>Connor</span><br><br></p>
<p><span>Racheal Harris </span><br><br></p>
<p><span>Chapter Nine: </span><span>The Simulated Sublime: Exploring Hollywood Ecocriticism in </span><span>Avatar</span><br><br></p>
<p><span>Siobhan Lyons</span><br><br></p>
<p><span>Chapter Ten: The Backlash and Empowerment of Feminism in </span><span>Xenogenesis</span><span>, </span><span>Piranha II: The Spawning</span><span>, and </span><span>Aliens</span><br><br></p>
<p><span>Fernando Gabriel Pagnoni Berns</span><br><br></p>
<p><span>Chapter Eleven: Taking Gettier to Tasker: </span><span>True Lies</span><span>, Knowledge, and the Prospects of Virtue Epistemology</span><br><br></p>
<p><span>Michael Versteeg and Adam Barkman</span><br><br></p>
<p><span>Chapter Twelve: “I Wanted to Do Something Outrageous”: On the Limits of Parody in </span><span>True Lies</span><br><br></p>
<p><span>Russell P. Johnson and Naaman K. Wood </span><br><br></p>
<p><span>Section III: The Futurist</span><br><br></p>
<p><span>Chapter Thirteen: Genetically Modified Human Beings in </span><span>Dark Angel</span><br><br></p>
<p><span>Sabine Planka</span><br><br></p>
<p><span>Chapter Fourteen: Of Shape-Shifters and Shifting Alliances: The Politics of the </span><span>Terminator </span><span>Franchise</span><br><br></p>
<p><span>Patrick Zwosta </span><br><br></p>
<p><span>Chapter Fifteen</span><span>: </span><span>An Abyss of Aliens: Action, Allegory and Mythological Elements in </span><span>Aliens</span><span> and </span><span>The Abyss</span><br><br></p>
<p><span>Carl H. Sobocinski </span><br><br></p>
<p><span>Chapter Sixteen: Refining Genre, Reassessing Gender: Assessing the Sacrificial Heroine in the Works of James Cameron</span><br><br></p>
<p><span>Christian Jimenez</span><br><br></p>
<p><span>Chapter Seventeen: “Two Candles in the Dark”: James Cameron’s Modern Fairy Tales</span><br><br></p>
<p><span>Elsa Columbani</span></p>
<span>Adam Barkman</span>
<span> is professor of philosophy and chair of the Philosophy Department at Redeemer University College.</span>
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<br>
<span>Antonio Sanna </span>
<span>teaches English language and literature at the Instituto Pitagora.</span>
<span> is professor of philosophy and chair of the Philosophy Department at Redeemer University College.</span>
<br>
<br>
<br>
<br>
<span>Antonio Sanna </span>
<span>teaches English language and literature at the Instituto Pitagora.</span>
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