Con Artists in Cinema

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A01=Joseph Kupfer
Arrogant Individuals
Atm Machine
audience complicity theory
Author_Joseph Kupfer
Being A Con
Birthday Girl
Birthday Girl (2001)
Body Heat
Body Heat (1981)
Category=ATFA
Category=JBCC1
Category=JBCT
cinematic deception studies
Classic Noir
Con Artist
con artist cinema
con artist film
con artist film and romance
con artist film genre
Con Game
Con Man
con men
con men and film
confidence men and cinema
Devious
Double Indemnity
Edmund's Death
Edmund’s Death
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
ethics and cinema
female agency in neo-noir films
female con artists
femme fatale
Femmes Fatales
Femmes Fatales Films
film genre analysis
Film Noir
Follow
gender representation cinema
House of Games (1987)
Insurmoun Table
Matchstick Men
Matchstick Men (2003)
narrative ethics
neo-noir
noir film
Phyllis Dietrichson
psychological character study
Russian Bride
Russian English Dictionary
Secretary Of State
Sunny
The Game (1997)
The Last Seduction (1994)
Usual Theft
Violating

Product details

  • ISBN 9781032421872
  • Weight: 460g
  • Dimensions: 138 x 216mm
  • Publication Date: 03 Aug 2023
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
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This book examines the con artist film as a genre, exploring its main features while also addressing variations within it.

The volume explores three diverse themes of the con artist film: edification, self-awareness, and liberation through con games; the femme fatale as con artist; and romantic love as a plot point. Analyzing movies such as Matchstick Men (2003), House of Games (1987), Body Heat (1981), The Last Seduction (1994), Birthday Girl (2001), and The Game (1997), the book also explores their psychological investigation of the con artist figure, the con artist’s mark, and how the dynamic between these roles implicates us as the audience. It also addresses the con artist film genre’s close association with neo-noir, especially through the femme fatale figure, investigating and updating the rich tradition of noir film.

Demonstrating the range and flexibility of this understudied genre, this book will be of interest to scholars and students of film studies, ethics, and those studying the representation of women in film.

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Joseph H. Kupfer is University Professor of Philosophy at Iowa State University, USA

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