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Seite 31
Developing an account of articulation , not just in relation to structuralist filmmaking , but in relation to avant - garde filmmaking more broadly , entails expanding the way we think about special effects to include the kind of frame ...
Developing an account of articulation , not just in relation to structuralist filmmaking , but in relation to avant - garde filmmaking more broadly , entails expanding the way we think about special effects to include the kind of frame ...
Seite 32
Arnulf Rainer uses black and white film frames , but in a number of films made by Paul Sharits later in the decade - e.g . ... the illusionist effects of projection on the discrete reality of the individual film frame .
Arnulf Rainer uses black and white film frames , but in a number of films made by Paul Sharits later in the decade - e.g . ... the illusionist effects of projection on the discrete reality of the individual film frame .
Seite 40
... arranging them frame - by - frame . He has described his ambition for his own filmmaking practice as being to bring some of what is being excluded , denied , and repressed in Hollywood cinema to the surface , but it is Akira Mizuta ...
... arranging them frame - by - frame . He has described his ambition for his own filmmaking practice as being to bring some of what is being excluded , denied , and repressed in Hollywood cinema to the surface , but it is Akira Mizuta ...
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Inhalt
Special Effects in Martin Arnolds and Peter Tscherkasskys Cinema | 28 |
Two Readings | 51 |
Reading Natsume | 78 |
Urheberrecht | |
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Bibliografische Informationen
| Titel | Discourse, Band 28,Ausgaben 2-3 |
| Mitwirkende | Herbert Blau, Ihab Hassan, Patricia Mellencamp, Patrice Petro, University of Wisconsin--Milwaukee. Center for Twentieth Century Studies |
| Veröffentlicht | 2006 |
| Original von | University of Wisconsin - Madison |
| Digitalisiert | 17. Juli 2017 |
| Zitat exportieren | BiBTeX EndNote RefMan |