Paul Deb
Biographic Data
| ID | 9711459 |
|---|---|
| NAME | Paul Deb |
| GIVEN NAMES | Paul |
| FAMILY NAME | Deb |
| SIGNATURE | DEB P |
| AFFILIATIONS | University of East Anglia |
| ORCID | 0000-0003-0347-1804 |
| VERIFIED | Yes |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 1 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2021 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Happiness and Tears, After Cavell
“I Saw a Different Life. I Can't Stop Seeing It”
In this article, I claim that Sam Mendes’ Revolutionary Road (2008) is a recent version of the film genre that Stanley Cavell calls the “melodrama of the unknown woman”. Accordingly, my discussion focuses on two key elements of that identification: the film's overriding dramatic and thematic emphasis on conversation, and the central characters’ relation to the wider social and political concerns of America
No prominent works on this page.
“I Saw a Different Life. I Can't Stop Seeing It”
In this article, I claim that Sam Mendes’ Revolutionary Road (2008) is a recent version of the film genre that Stanley Cavell calls the “melodrama of the unknown woman”. Accordingly, my discussion focuses on two key elements of that identification: the film's overriding dramatic and thematic emphasis on conversation, and the central characters’ relation to the wider social and political concerns of America
Happiness and Tears, After Cavell
Aesthetics (1 work) · Anthropology (1 work) · Art (1 work) · Cinema and Media Studies (1 work) · Communication (1 work) · Computer Science (1 work) · Conversation (1 work) · Ethics, Aesthetics, and Art (1 work) · Law (1 work) · Literature (1 work)