Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 32,Útgáfa 2Indiana University Press, 2010 |
From inside the book
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Síða 217
... Cuarón points out that his approach to making this film was not so much " about imagining and being creative " but " about referencing reality . " 11 Thus , he and cinematographer Emmanuel Lubezki began with the idea that " not a single ...
... Cuarón points out that his approach to making this film was not so much " about imagining and being creative " but " about referencing reality . " 11 Thus , he and cinematographer Emmanuel Lubezki began with the idea that " not a single ...
Síða 219
... Cuarón's film share a collagelike structure , it should be noted that Cuarón's practice of referenc- ing is fundamentally different from Fredric Jameson's formulation of the " depthless " postmodern pastiche , which he defines alter ...
... Cuarón's film share a collagelike structure , it should be noted that Cuarón's practice of referenc- ing is fundamentally different from Fredric Jameson's formulation of the " depthless " postmodern pastiche , which he defines alter ...
Síða 220
... Cuarón reserves his implicit criticism for the neoconservative ruling classes . In her analysis of The Waste Land , Gish concludes that Eliot's masterwork achieves its narrative and aesthetic cohesion through the voice of the narrator ...
... Cuarón reserves his implicit criticism for the neoconservative ruling classes . In her analysis of The Waste Land , Gish concludes that Eliot's masterwork achieves its narrative and aesthetic cohesion through the voice of the narrator ...
Efni
Womens Cinema and Contemporary Allegories of Violence | 170 |
Utopian Architecture | 186 |
Ethics Aesthetics and the Future in Alfonso Cuaróns Children | 212 |
Höfundarréttur | |
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aesthetic Alfonso Cuarón American Amores Perros argues Asian audiences Barney's Benthien body Brooks camera characters Children Children of Men contemporary context CREMASTER critical critique Cruz Cruz's Cuarón's cultural Deleuze Derrida digital art digital image Discourse dramatic dystopian Eliot's essay ethical experience figure film film's filmic Foucault Freud function Gary Gilmore genre Gilles Deleuze Giroux Gledhill global Hansen historical huella and Perfume human Ibid ideas identity Imagination internal limit Iwamura Kwai Chang Caine maître d Matthew Barney Mavor melo melodrama melodramatic mode Mexican Mexico modern moral mother narrative objects Oriental Monk Perfume de Violeta political postmodern problem produced Prosthetic Head queer quotation rape reality representation Sade Sade's scene screen shots Silvano Sin dejar huella Slavoj Žižek social sociopolitical space specific spiritual Stelarc suffering symbolic Theo theory tion touch trans Transgression unhappy consciousness University Press utopia viewer virtual virtue and evil visual Waste Land Yessica York