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From the turn of the century , filmmakers have experimented with a range of visual and narrative techniques for communicating the mental activities of dreaming and daydreaming , of hallucination and fantasy , and ordinary remembering .
From the turn of the century , filmmakers have experimented with a range of visual and narrative techniques for communicating the mental activities of dreaming and daydreaming , of hallucination and fantasy , and ordinary remembering .
Seite 39
Buñuel's terms , by constructing a narrative which , on the one hand , patently doesn't obey the usual rules of narrative causality and continuity and , on the other , takes spectators into a narrative world in which disturbing ...
Buñuel's terms , by constructing a narrative which , on the one hand , patently doesn't obey the usual rules of narrative causality and continuity and , on the other , takes spectators into a narrative world in which disturbing ...
Seite 41
Classical narrative's developmental logic is understood , in Arnold's films , to be working against the full expressivity of gesture . Although this cinema has developed all kinds of techniques that would appear to contradict this idea ...
Classical narrative's developmental logic is understood , in Arnold's films , to be working against the full expressivity of gesture . Although this cinema has developed all kinds of techniques that would appear to contradict this idea ...
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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 |