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161125 ||| eng |
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|a 9781137013248
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| 100 |
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|a Hamner, M. Gail
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| 245 |
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|a Imaging Religion in Film
|h Elektronische Ressource
|b The Politics of Nostalgia
|c by M. Gail Hamner
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| 260 |
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|a New York
|b Palgrave Macmillan US
|c 2011, 2011
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| 300 |
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|a XVII, 193 p. 15 illus
|b online resource
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| 653 |
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|a Religion and sociology
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| 653 |
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|a Film and Television Studies
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| 653 |
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|a Social Aspects of Religion
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| 653 |
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|a Social Sciences
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| 653 |
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|a Social sciences
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| 653 |
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|a Sociology of Religion
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| 653 |
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|a Motion pictures and television
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| 653 |
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|a Religion and Society
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| 653 |
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|a Motion pictures / History
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| 653 |
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|a Philosophy of Religion
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| 653 |
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|a Religion / Philosophy
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| 653 |
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|a Film History
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| 041 |
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|a eng
|2 ISO 639-2
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| 989 |
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|b Springer
|a Springer eBooks 2005-
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| 490 |
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|a New Approaches to Religion and Power
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| 856 |
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|u http://dx.doi.org/10.1057/9781137013248?nosfx=y
|x Verlag
|3 Volltext
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|a 306.6
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| 520 |
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|a This book offers a new methodology for examining the ethico-political dimensions of religion and film which foregrounds film's social power both to shape subjectivity and to image contemporary social contradictions and analyses three specific films: Kurosawa's Dersu Uzala ; Kiarostami's Taste of Cherry ; and the Coens' The Man Who Wasn't There
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