“I Saw a Different Life. I Can't Stop Seeing It”
Perfectionist Visions in Revolutionary Road
Bibliographic Data
| ID | 21720333 |
|---|---|
| Authors | Paul Deb (0000-0003-0347-1804, University of East Anglia, corresponding author) |
| Year | 2021 |
| Volume | 25 |
| Issue | 3 |
| Pages | 251-271 |
| Publication date | 2021-10-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Film-Philosophy (JOURNAL) |
| Journal identifiers | ISSN: 1466-4615 • E-ISSN: 1466-4615 |
| Publisher | Edinburgh University Press (PUBLISHER • GB) |
| DOI | 10.3366/film.2021.0175 |
| OpenAlex | W3187559074 |
| Language | EN |
| Citations received | 1 |
| References cited | 11 |
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
Aesthetics · Art · Conversation · Literature · Media studies · Political science · Politics · Sociology · Vision · Anthropology · Cinema and Media Studies · Communication · Computer Science · Ethics, Aesthetics, and Art · Law · Wittgensteinian philosophy and applications
| Citations per year | 0.33 |
|---|---|
| Citation span | 2023 - 2023 (1) |
| Highly cited | No |