Discourse, Bindi 32,Útgáfa 22010 |
From inside the book
Niðurstöður 1 - 3 af 19
Síða 213
... viewer's knowledge of the dystopian world of Children of Men is delineated by what appears via its omnipresent audiovisual media . As co - viewers ( along with the film's characters ) of the various audiovisual stimuli that saturate the ...
... viewer's knowledge of the dystopian world of Children of Men is delineated by what appears via its omnipresent audiovisual media . As co - viewers ( along with the film's characters ) of the various audiovisual stimuli that saturate the ...
Síða 220
... viewer's attention to signs and symbols that tend to escape his attention . Towards the begin- ning of the film , for example , while Theo numbly and obliviously makes his way through the contemporary Waste Land that is Lon- don , the ...
... viewer's attention to signs and symbols that tend to escape his attention . Towards the begin- ning of the film , for example , while Theo numbly and obliviously makes his way through the contemporary Waste Land that is Lon- don , the ...
Síða 221
... viewer becomes aware of the camera's contrast- ing point of view as it reflexively leaves its protagonists behind in order to explore some of the world that lies beyond their spheres of interest.32 It is through this tension between ...
... viewer becomes aware of the camera's contrast- ing point of view as it reflexively leaves its protagonists behind in order to explore some of the world that lies beyond their spheres of interest.32 It is through this tension between ...
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 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 Reas representation Sade Sade's scene screen shots Silvano Sin dejar huella Slavoj Žižek social sociopolitical space specific spiritual Stelarc Stella Dallas suffering symbolic Theo theory tion touch trans Transgression University Press utopia viewer virtual virtue and evil visual Waste Land Yessica York