Relevant bibliographies by topics / Action thriller

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  2. Books
  3. Book chapters

Academic literature on the topic 'Action thriller'

Author: Grafiati
Published: 12 December 2022
Last updated: 26 January 2023

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Journal articles on the topic "Action thriller"

1

Lee, Jeong-Gook. "Analysis of Directing Super Hero Action Thriller." Journal of the Korea Contents Association 11, no. 4 (2011): 140–54. http://dx.doi.org/10.5392/jkca.2011.11.4.140.

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Kokotkiewicz, Martyna. "Extraordinary Protagonists, Average Issues." Folia Scandinavica Posnaniensia 25, no. 1 (2018): 101–11. http://dx.doi.org/10.2478/fsp-2018-0016.

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Abstract Thriller is considered to be a subgenre of criminal fiction, in which the most significant role is played by fast-paced action, suspense, spectacular events. In case of so called international and political thrillers it should also be mentioned that their authors construct their plots around the problems such as global conflicts, international conspiracy, terrorism, the development of nuclear weapon. However, problems commonly mentioned by many authors of other subgenres of criminal fiction, are also present in the novels classified as thrillers. The collapse of well-being society, unstable interpersonal relationships, mental problems of an individual, childhood traumas are therefore often mentioned by the writers, although they do not usually constitute main subjects of the novels. The article concentrates on some examples from international and political thrillers, in which such issues seem to be equally important, written by the most popular Finnish authors of this particular genre, namely Ilkka Remes and Taavi Soininvaara.
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Fisher, Mark. "The Lost Unconscious: Delusions and Dreams in Inception." Film Quarterly 64, no. 3 (2011): 37–45. http://dx.doi.org/10.1525/fq.2011.64.3.37.

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An analysis of Christopher Nolan's science-fiction thriller, Inception, which relates it to Nolan's previous films and argues that the film's multilayered nest of worlds and strangely cold action sequences relate to the commodification of the psyche.
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Lee jeong-gook. "A Study of Action Thriller 'Bourne' Series -Centering on directing analysis-." Film Studies ll, no. 45 (2010): 311–41. http://dx.doi.org/10.17947/kfa..45.201009.013.

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Soberon, Lennart. "Reaganite America and Its Mnemonic Menaces." Film Studies 22, no. 1 (2020): 129–49. http://dx.doi.org/10.7227/fs.22.0009.

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During the 1980s the spectre of the Vietnam War haunted the sites of cinema and popular culture in various forms. Whereas a rich body of scholarly research exists on cinematic iterations of the Vietnam war as trauma, the discursive dynamics between memory, ideology and genre in relation to enemy image construction are somewhat underdeveloped. This article utilises genre studies, conflict studies and trauma theory in analysing how the representations of film villains interact with the construction of cultural trauma and national identity. Considering the American action thriller to be an important site for processes of commemoration and memorialisation, the discursive construction and formal articulation of national trauma are theorised within the genre. Additionally, a thematic and textual analysis was conducted of a sample of forty American action thriller films. The analysis illustrates how the genre operates through a structure of violent traumatisation and heroic vindication, offering a logic built on the necessity and legitimacy of revenge against a series of enemy-others.
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Schneider, Karen. "With Violence if Necessary: Rearticulating the Family in the Contemporary Action-Thriller." Journal of Popular Film and Television 27, no. 1 (1999): 2–11. http://dx.doi.org/10.1080/01956059909602792.

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7

Wilson, Rob. "Snowpiercer as Anthropoetics." boundary 2 46, no. 3 (2019): 199–218. http://dx.doi.org/10.1215/01903659-7614219.

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Crazed with extremity of affect, thriller action, and a cosmopolitical style as befits the Korean-global blockbuster mode of auteur production, Bong Joon-ho’s 2013 film Snowpiercer also prods its audience to confront looming conditions of global warming, ecological disequilibrium, class and resource warfare, trans-species bonding, and the planetary horizon of the Anthropocene.
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Talat, Saima. "Language, Identity, and the Action Thriller: A Genre Analysis Study of Bourne Supremacy." PAKISTAN LANGUAGES AND HUMANITIES REVIEW 5, no. II (2021): 358–69. http://dx.doi.org/10.47205/plhr.2021(5-ii)1.29.

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Bettinson, Gary. "Penning Dramatic Chance: Adaptation, Dürrenmatt, and The Pledge." Film Studies 5, no. 1 (2004): 66–79. http://dx.doi.org/10.7227/fs.5.6.

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In Sean Penn‘s crime thriller The Pledge (2000), a crucial stage of story action is determined by a purely chance event. Neither prefigured by narrative signposting nor sutured into the films system of causation, the chance event both mystifies the fictive agents and distresses audience expectation. This essay explores the issues at stake in the films reliance on chance action, arguing that its usage represents a significant risk on the part of the dramaturgist. Moreover, the essay examines the alterations that the film makes in Friedrich Dürrenmatts source novel, and considers the ways in which these alterations radically transform the effects created by the story‘s chance event.
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Bhattacharya, Saradindu. "Gender, Genre, and the Idea of the Nation." Pedagogy 21, no. 3 (2021): 549–58. http://dx.doi.org/10.1215/15314200-9131947.

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Abstract This article examines the construction of and contestation over the idea of the nation through contemporary popular cinema in India. Building on his experience of discussing the Bollywood spy thriller Raazi (2018) in an English class, the author proposes that “reading” the film in terms of gender and genre can not only help students apply modes of textual analysis to narratives in other media but also alert them to the location of such narratives within larger discursive frameworks of defining national identities. Raazi presents a critical and ideological counterpoint to the generic conventions of the spy thriller within the increasingly polarized sociopolitical context of the Indian subcontinent. The film presents an unlikely female protagonist as both the physical agent and the psychological subject of the violence integral to the “action” of an espionage film. It also interrogates the oppositional relation between the patriotic “self” and the foreign “other” that lies at the basis of the militaristic conception of the nation and ultimately reveals the shared human vulnerability of both to the traumatic effects of pursuing the idea(l) of nationalism at the expense of individual moral integrity. Thus a close reading of the film's narrative structure and conventions, as well as a critical engagement with the historical context of its production and reception, can be pedagogically fruitful ways of understanding and critiquing the processes through which a nation is collectively imagined into being.
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Books on the topic "Action thriller"

1

McRae, James. Strike!: An action thriller. McWriter@webtv.net, 2005.

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2

Make your own action thriller. Capstone Press, 2012.

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3

Weisman, John. Direct action: A covert war thriller. William Morrow, 2005.

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4

Clark, Norm. Resurrected: An Action Thriller. CreateSpace Independent Publishing Platform, 2011.

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5

Lowry, Chris. ASSET - an Action Thriller: A Brill Winger Thriller. Independently Published, 2018.

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Lowry, Chris. OPERATIVE - an action thriller: A Brill Winger Thriller. Independently published, 2019.

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7

Giguere, Rejean. Endpoint : (an Action/Adventure Thriller). Giguere, Rejean, 2013.

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8

Tuijl, Justin. Burning Wolfhound: Action Adventure Thriller. Independently Published, 2016.

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9

Lowry, Chris. Mission One: An Action Thriller. Independently Published, 2017.

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Butler-Berkley, Susie. Destination : Dakar: WWII Action Thriller. Independently Published, 2018.

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Book chapters on the topic "Action thriller"

1

Kellogg, David. "The Action Thriller and the Actual Tragedy." In The Great Globe and All Who It Inherit. SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-725-4_9.

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Nolan, Christopher, Jonathan Nolan, and David Goyer. "The Dark Knight (Action/Crime/Drama/Thriller), 2008." In Script Analysis. Routledge, 2022. http://dx.doi.org/10.4324/9781003138853-16.

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Gallagher, Mark. "Armchair Thrills and the New Adventurer." In Action Figures. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403977236_2.

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Britt, Thomas. "Male Ageing and Retribution in Contemporary Action Thrillers." In Ageing Masculinities in Contemporary European and Anglophone Cinema. Routledge, 2022. http://dx.doi.org/10.4324/9781003306146-15.

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Hall, E. Dawn. "Expansion: Night Moves." In ReFocus: The Films of Kelly Reichardt. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474411127.003.0008.

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This chapter discusses Night Moves as a political thriller about ecoterrorism, and focuses on Riechardt’s adjustments in form, style, and content as compared with her prior body of work. While on the surface, Night Moves appears to have more commercial intentions, it is an overt challenge to cinematic commercialisation. Although the thriller genre promises sex, action, and special effects, Night Moves, in true independent cinematic fashion, never shows these events on screen. Night Moves invites ethical questions through the ecoterrorist actions of the protagonists and the gender commentary supplied through the sparse dialogue and character interactions. Through interviews with Reichardt and her cast and crew the chapter covers production methods and makes connections with contemporary environmental activist groups, such as the Earth Liberation Front, the Occupy Wall Street movement and to terrorist acts such as the Oklahoma City bombing.
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Donnar, Glen. "“A Variation of Vengeance”." In Troubling Masculinities. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828576.003.0005.

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This chapter examines contrasting reflections on “war on terror,” primarily exploring the action-thriller, The Kingdom (2008), about the FBI investigation into fictional coordinated terror attacks on an American oil workers compound in Saudi Arabia. With foreign and outpost space structured much like a “frontier western,” American masculine identity and sovereignty are numerously undermined in the course of the investigation. The film can only counter this through a jarring final act shift from “forensic procedural” to over-the-top action-war “revenge fantasy.” The bloody annihilation of the Orientalized “terror-Other” mastermind nominally “(re)Americanizes” foreign land and reinstitutes professional agency and militarized masculinity. In comparison with John Ford’s Fort Apache (1948), Munich (2005) and Zero Dark Thirty (2012), the chapter concludes The Kingdom instead confirms the disquieting irresolution of violent revenge, extending terror through blowback and failing to reinvigorate a “protective” paternal masculinity undercut in being the same as America’s “dark mirror,” the Arab terrorist.
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Casaregola, Vincent. "Who “Screens” Security?" In Biometrics. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0983-7.ch058.

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Films represent our awareness of surveillance and often trigger a deep emotional response from audiences, and for whole genres of film—particularly the political thriller and science fiction/speculative dystopia, along with horror films and some forms of the mystery or crime film—have been built around an individual or group of individuals who are being kept under some form of surveillance, either by the authorities of the state and by other individuals or groups who may have criminal and/or even psychotic motives. For filmmakers and their intended audiences, the surveillance narrative doubles back onto to very art form itself, composed as it is of the camera's surveillance of the action, along with the viewers' attentive watching of the film. While such audience attention had also been fundamental to drama for thousands of years, it has only been more recently that audiences began observing the fourth wall conventions of silence and darkness that make their watching of a performance a kind of surveillance.
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Forshaw, Barry. "Legacy of the Lambs." In The Silence of the Lambs. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733650.003.0008.

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This chapter explores the legacy of The Silence of the Lambs. What is the most significant aspect of Thomas Harris's achievement, both on the page and on the screen? Certainly, there is the creation of a massively successful franchise which has proved itself to be both durable and renewable; the latest incarnation of Harris's signature character is a television series, Hannibal, with the British actor Hugh Dancy impressively nervous as Will Graham, and the Scandinavian Mads Mikkelsen as Harris's eponymous psychiatrist. What is perhaps most enduring about the legacy of The Silence of the Lambs and the writer's other books is the permanent change that malign screen characters have undergone since the appearance of Dr Lecter in the bowels of that psychiatric institution. Nowadays, most ambitious thrillers imbue their villains with a fierce intelligence and analytical intuitiveness. But even more important than this, Thomas Harris demonstrated that popular writing can boast the acumen, elegance, and masterly prose of the best literary fiction, and has inter alia raised the game of the whole genre of thriller writing. Similarly, Jonathan Demme's place in film history is assured thanks to his confident handling of the source material and its influence on horror cinema of the late twentieth century.
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Perillo, J. Lorenzo. "Zombies and Prisoner Rehabilitation." In Choreographing in Color. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054274.003.0002.

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This chapter looks at how, in 2007, 1,500 inmates in the Cebu Provincial Detention and Rehabilitation Center (CPDRC) went “viral” with their online rendition of Michael Jackson’s music video “Thriller.” Representing an exercise program aimed at building teamwork and reducing gang activity through dance, the CPDRC’s “Thriller” circulated as performance-based proof of prisoner rehabilitation. This chapter argues that central to the production’s worldwide popularity are narratives of discipline, colonial choreography, and the alterity of Wenjiel Resane, the cross-dressed leading lady. It situates the dance in relation to the African American original, the actions of the prison administrators, and ideologies of Filipino mimicry. This chapter examines how neocolonial and market-oriented reforms fundamentally influenced the social construction of Filipino Otherness presented in the dance and thus shaped its popularity in unexpected ways.
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McLean, Robert, and James A. Densley. "Robbery in Action." In Robbery in the Illegal Drugs Trade. Policy Press, 2022. http://dx.doi.org/10.1332/policypress/9781529223910.003.0004.

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This chapter documents the practice of robbery, mostly at the lower end of the drug market where younger social suppliers, retail-level dealers, petty criminals, end-users, and drug addicts converge. It discusses how targets are selected, how information is gathered on selected targets, how stash houses are infiltrated, the precautions taken to avoid robbery, and the retaliation (or not). It also accounts for the offenders' decision-making in relation to robbery and explores how and why targets are chosen, detailing the various tactics used in a robbery. The chapter describes the robbery in Glasgow and West Scotland that became so common that it is almost routine. It talks about robbery at the lower level of the illicit drugs trade that is not just about drugs and money, but status rewards and humiliating rivals and victims for thrills and ‘kicks’.
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