Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 22,Útgáfa 1Indiana University Press, 2000 |
From inside the book
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Síða 87
... film's end , its lure is tacitly undermined during the film by repeated caricatures of whiteness . Alice Jameson , for example , has a stiffly formulaic exchange with Renee early in the film ( " What a LOVELY dress , " she woodenly ...
... film's end , its lure is tacitly undermined during the film by repeated caricatures of whiteness . Alice Jameson , for example , has a stiffly formulaic exchange with Renee early in the film ( " What a LOVELY dress , " she woodenly ...
Síða 92
... films are montage films . This is not true . My films are not montage films . Up until now , in world cinema , montage has been considered a regrouping of images placed alongside one another . The relation between nearby images always ...
... films are montage films . This is not true . My films are not montage films . Up until now , in world cinema , montage has been considered a regrouping of images placed alongside one another . The relation between nearby images always ...
Síða 106
... films like Fly or Alien ( Ridley Scott 1979 ) and Aliens ( James Cameron , 1986 ) , the horrified / fascinated gaze is compelled to pay attention ; we are not allowed to look away . As Philip Brophy writes , “ John Carpenter's ...
... films like Fly or Alien ( Ridley Scott 1979 ) and Aliens ( James Cameron , 1986 ) , the horrified / fascinated gaze is compelled to pay attention ; we are not allowed to look away . As Philip Brophy writes , “ John Carpenter's ...
Efni
Total Duplicity of this War | 3 |
Collective Memory Credibility Structures and the Case | 31 |
Greg Louganis and | 53 |
Höfundarréttur | |
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