Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 28,Útgáfur 2-3Indiana University Press, 2006 |
From inside the book
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Síða 32
... visual effects created by the rapid alternation between solid colored film frames . Arnulf Rainer uses black and white film frames , but in a number of films made by Paul Sharits later in the decade - e.g . Ray Gun Virus ( 1966 ) ...
... visual effects created by the rapid alternation between solid colored film frames . Arnulf Rainer uses black and white film frames , but in a number of films made by Paul Sharits later in the decade - e.g . Ray Gun Virus ( 1966 ) ...
Síða 35
... visual form to occult mental activity , the central prob- lem to be worked through has been one of achieving a satisfying correspondence between them . From the turn of the century , film- makers have experimented with a range of visual ...
... visual form to occult mental activity , the central prob- lem to be worked through has been one of achieving a satisfying correspondence between them . From the turn of the century , film- makers have experimented with a range of visual ...
Síða 76
... visual ( or auditory ) object's degree of sublimation — but rather , “ the visual and auditory drives have a stronger or more special relationship with the absence of their object , with the infinite pursuit of the imaginary . " Thus ...
... visual ( or auditory ) object's degree of sublimation — but rather , “ the visual and auditory drives have a stronger or more special relationship with the absence of their object , with the infinite pursuit of the imaginary . " Thus ...
Efni
Special Effects in Martin Arnolds and Peter Tscherkasskys Cinema | 28 |
Two Readings | 51 |
Reading Natsume | 78 |
Höfundarréttur | |
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Adrian Piper American Andy Hardy argues Arnold's Asian audience avant-garde avant-garde film become body boots Bungakuron Butler Caucasian Chinese cinematograph concept critical critique death deconstruction Deleuze Derrida desire dialectical discourse Don Justo Dream ence English essay essence experience film industry film's filmmakers finitude Frame cap genre ghost Gilles Deleuze Giosuè global Guido Hegel Heidegger Heidegger's Historias mínimas Hollywood Hong Kong cinema Hong Kong films Ibid identity Jacques Derrida Judith Butler Korean cinema Korean film language Levinas literature living Malacara Marty Marty's metaphor metaphysics modern Monty movement Mythic narrative Natsume Sōseki object ontological Outer Space philosophy Piper political possibility present question racial relationship renvois representation rice and potato rice queen Robert Zemeckis San Julián scene sense sexual social Sōseki spectators specter spectrality story sub-iectum theory thinking thought tion Tokyo trans transvaluation Tscherkassky ture University Press viewer visual World Picture writes York