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Seite 11
a is marred by a series of poor decisions that would seem to undermine Elizondo's claims about the film ; but they are forgivable , for Elizondo , because they are not the director's fault . Among these weaknesses , he mentions the poor ...
a is marred by a series of poor decisions that would seem to undermine Elizondo's claims about the film ; but they are forgivable , for Elizondo , because they are not the director's fault . Among these weaknesses , he mentions the poor ...
Seite 13
In other words , the film dramatically performs its rupture with a regime of state subvention for the arts that is at one of its ... endless number of films have been produced that acknowledge the power of memory and of oblivion .
In other words , the film dramatically performs its rupture with a regime of state subvention for the arts that is at one of its ... endless number of films have been produced that acknowledge the power of memory and of oblivion .
Seite 16
This is perhaps the first strong intimation of the film's archival desire ; it bears witness to a bearing witness , collecting and repeating what is known . It does not make visible the original events but rather their retelling ...
This is perhaps the first strong intimation of the film's archival desire ; it bears witness to a bearing witness , collecting and repeating what is known . It does not make visible the original events but rather their retelling ...
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Inhalt
Spinoza Deleuze and Carlos Reygadass | 27 |
Sketches of Contemporary Labor | 55 |
The Tragic Voyage to a Postmodern | 75 |
Urheberrecht | |
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