{"title":"杜鹃钟的阴影下第三个人》的颠覆性现实主义","authors":"Octavian More","doi":"10.2478/rjes-2023-0009","DOIUrl":null,"url":null,"abstract":"Abstract With a view to exemplifying how film noir can effectively combine elements of expressionism and realism through a participatory viewing experience, this paper provides a discussion of The Third Man as a cinematic text that concomitantly reiterates traditional insular values in times of global conflict and strengthens the individuality of post-war British cinema against the pressures of the American film industry.","PeriodicalId":30681,"journal":{"name":"Romanian Journal of English Studies","volume":"61 4","pages":"80 - 88"},"PeriodicalIF":0.0000,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"In the Shadow of the Cuckoo Clock. The Subversive Realism of the Third Man\",\"authors\":\"Octavian More\",\"doi\":\"10.2478/rjes-2023-0009\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract With a view to exemplifying how film noir can effectively combine elements of expressionism and realism through a participatory viewing experience, this paper provides a discussion of The Third Man as a cinematic text that concomitantly reiterates traditional insular values in times of global conflict and strengthens the individuality of post-war British cinema against the pressures of the American film industry.\",\"PeriodicalId\":30681,\"journal\":{\"name\":\"Romanian Journal of English Studies\",\"volume\":\"61 4\",\"pages\":\"80 - 88\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Romanian Journal of English Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2478/rjes-2023-0009\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Romanian Journal of English Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2478/rjes-2023-0009","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
In the Shadow of the Cuckoo Clock. The Subversive Realism of the Third Man
Abstract With a view to exemplifying how film noir can effectively combine elements of expressionism and realism through a participatory viewing experience, this paper provides a discussion of The Third Man as a cinematic text that concomitantly reiterates traditional insular values in times of global conflict and strengthens the individuality of post-war British cinema against the pressures of the American film industry.
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