Screen Hustles, Grifts and Stings: Stings, Grifts, Hustles and the Long Con

Screen Hustles, Grifts and Stings: Stings, Grifts, Hustles and the Long Con

by A. Sargeant

Hardcover(1st ed. 2015)

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Product Details

ISBN-13: 9781137466884
Publisher: Palgrave Macmillan UK
Publication date: 01/23/2016
Edition description: 1st ed. 2015
Pages: 98
Product dimensions: 5.51(w) x 8.50(h) x (d)

About the Author

Amy Sargeant teaches in the London Program for Tisch School of the Arts at New York University. She was formerly Reader in Film at the University of Warwick and Lecturer in the History of Film and Visual Media at Birkbeck College, University of London. Her major publications include The Servant (BFI/Palgrave, 2011 - nominated for a BAFTSS prize); British Cinema: A Critical History (BFI, 2005) and (co-edited with Claire Monk) British Historical Cinema: History, Heritage and the Costume Film (Routledge, 2001).

Table of Contents

1. Lone Operators
2. Two-Handers: Buddy-Buddies; Young Upstarts and Double-Dealers
3. Aesop and Brer Rabbit
4. The Big Store
5. The Long Con

What People are Saying About This

From the Publisher

"This book about the con shows an old pro at the top of her game. Amy Sargeant has assembled a rogues' gallery of amoral, (borderline) psychopathic salesmen, Nietzschean self-inventors all, whose strategems evoke both the workings of the dream factory itself and the depthless façade of our collective 'Big Store'. There's a wealth of reference and analysis here: from astute commentary on classics both cinematic and literary (Br'er Rabbit!) to close readings of recent examples of the genre. Presiding 'Master of the Con' is David Mamet, with whom Sargeant shares the rare talent not to waste a word." (Tom Paulus, Professor of Film and Theatre Studies, University of Antwerp, Belgium, editor (with Rob King) of AFI Film Reader Slapstick Comedy)

“Sargeant offers a brisk, perceptive overview of crime film subgenres finally getting their due. Overshadowed by gangster and heist films, the sting and the con depict mysterious versions of the criminal, victim and avenger, which Sargeant unlocks with insightful commentary. Comprehensive in its own right, this text will inspire further discussion greatly needed in the field.” (Matthew Sorrento, Lecturer on Film and Media Studies, Rutgers University-Camden, author of The New American Crime Film, Co-Editor, Film International)

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