Titlebook: Existentialism and Social Engagement in the Films of Michael Mann; Vincent M. Gaine Book 2011 Palgrave Macmillan, a division of Macmillan

證實(shí)

Being the , (1981) Caan) is in tension with his goal of bourgeois happiness, a form of social engagement. Frank’s experiences expose the subjugation and bad faith inherent in his goal, leading to its eventual abandonment. The film types drawn upon in . (as well as ., ., ., . and .) include crime, thriller, police and

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Psychological Resolution in , (1986)ronment. In ., a different form of tension arises due to the protagonist’s encounter with psychopathology, as he pursues one psychopath and seeks advice from another. Will Graham’s (William Petersen) pursuit of the serial killer Francis Dollarhyde (Tom Noonan) creates tension between Graham’s fundam

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Origins of Evil in , (1983)ntialism when it leads to solitude. The films analysed in the following chapters — ., ., . and . — explore social engagement in terms of a .; the pro-tagonists of these films work for the benefit of others. In these films, therefore, the existential guiding ethic is exercised in relation to wider so

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