| dc.contributor.author | Peacock, Steven | |
| dc.date.accessioned | 2013-04-24T14:00:02Z | |
| dc.date.available | 2013-04-24T14:00:02Z | |
| dc.date.issued | 2012-11 | |
| dc.identifier.citation | Peacock , S 2012 , ' The collaborative film work of Greengrass and Damon : a stylistic state of exception ' , New Cinemas , vol. 9 , no. 2-3 , pp. 147-160 . https://doi.org/10.1386/ncin.9.2-3.147_1 | |
| dc.identifier.issn | 1474-2756 | |
| dc.identifier.other | PURE: 1432138 | |
| dc.identifier.other | PURE UUID: 82d63307-8b50-4852-9515-6f12515be9cc | |
| dc.identifier.other | Scopus: 84872951934 | |
| dc.identifier.uri | http://hdl.handle.net/2299/10495 | |
| dc.description.abstract | This article considers formal negotiations of terrorism in the collaborative film work of one director (Paul Greengrass) and one actor (Matt Damon). It explores the coupling of stylistic dynamics and sociocultural concerns in the Greengrass/Damon films: The Bourne Supremacy (2004), The Bourne Ultimatum (2007) and Green Zone (2010). | en |
| dc.format.extent | 14 | |
| dc.language.iso | eng | |
| dc.relation.ispartof | New Cinemas | |
| dc.subject | film | |
| dc.subject | style | |
| dc.subject | Hollywood | |
| dc.subject | terrorism | |
| dc.subject | Agamben | |
| dc.title | The collaborative film work of Greengrass and Damon : a stylistic state of exception | en |
| dc.contributor.institution | English Literature and Creative Writing | |
| dc.contributor.institution | School of Humanities | |
| dc.contributor.institution | Social Sciences, Arts & Humanities Research Institute | |
| dc.contributor.institution | Film | |
| dc.contributor.institution | Media | |
| dc.description.status | Peer reviewed | |
| rioxxterms.versionofrecord | https://doi.org/10.1386/ncin.9.2-3.147_1 | |
| rioxxterms.type | Journal Article/Review | |
| herts.preservation.rarelyaccessed | true | |
