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 159
... maître d ' ( although there is no dia- logue in this scene , or anywhere in this film , to tell us who this man is - only the fact that he stands behind what looks to be a reception table facing the bank of elevators ) . Again , several ...
... maître d ' ( although there is no dia- logue in this scene , or anywhere in this film , to tell us who this man is - only the fact that he stands behind what looks to be a reception table facing the bank of elevators ) . Again , several ...
Síða 160
... maître d ' and of Matthew Barney . This is presumably because these characters stand face to face , although this seems far from the standard shot - reverse shot composition to which we are accustomed : the camera , instead of assuming ...
... maître d ' and of Matthew Barney . This is presumably because these characters stand face to face , although this seems far from the standard shot - reverse shot composition to which we are accustomed : the camera , instead of assuming ...
Síða 161
Berkeley Journal for Theoretical Studies in Media and Culture. Figure 3. The maître d ' . Matthew Barney , CREMASTER 3 ( 2002 ) . Produc- tion still © 2002 Matthew Barney . Photo by Chris Winget . Courtesy of Glad- stone Gallery , New ...
Berkeley Journal for Theoretical Studies in Media and Culture. Figure 3. The maître d ' . Matthew Barney , CREMASTER 3 ( 2002 ) . Produc- tion still © 2002 Matthew Barney . Photo by Chris Winget . Courtesy of Glad- stone Gallery , New ...
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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