Discourse, Bindi 342012 |
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Síða 121
... movement from a variety of different angles , always oriented by his movement ( Peter is always in frame ) and always mirroring the direction , speed , and quality of his movement ( figure 5 ) . There are two direct , subjective point ...
... movement from a variety of different angles , always oriented by his movement ( Peter is always in frame ) and always mirroring the direction , speed , and quality of his movement ( figure 5 ) . There are two direct , subjective point ...
Síða 150
... Movement ( 2001 ) , which similarly focuses on the early screenplays of Tanizaki and Kaeriyama Norimasa as a means to analyze the conception and production of Japan's earliest films and the Pure Film Movement ( Jun'eigageki undō ) ...
... Movement ( 2001 ) , which similarly focuses on the early screenplays of Tanizaki and Kaeriyama Norimasa as a means to analyze the conception and production of Japan's earliest films and the Pure Film Movement ( Jun'eigageki undō ) ...
Síða 151
... Movement of the 1910s and 1920s . Propo- nents of the movement sought to define a true essence of cinema , arguing that only those films that made full use of the cinematic medium - doing things with moving pictures that other forms of ...
... Movement of the 1910s and 1920s . Propo- nents of the movement sought to define a true essence of cinema , arguing that only those films that made full use of the cinematic medium - doing things with moving pictures that other forms of ...
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