Discourse, Band 342012 |
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Seite 175
... shots ? " 37 Given the extended duration of each shot , the last shot - lasting more than six and a half minutes - offers the most provocative answer to Moritz and O'Neill's question , which they describe thus : [ T ] he image cuts to ...
... shots ? " 37 Given the extended duration of each shot , the last shot - lasting more than six and a half minutes - offers the most provocative answer to Moritz and O'Neill's question , which they describe thus : [ T ] he image cuts to ...
Seite 304
... shot in which most of the frame depicts the blurred darkness of the subway car and its passengers except for Frannie's face , which is engrossed in what she sees on the subway wall . This shot functions as a close- up on her act of ...
... shot in which most of the frame depicts the blurred darkness of the subway car and its passengers except for Frannie's face , which is engrossed in what she sees on the subway wall . This shot functions as a close- up on her act of ...
Seite 307
... shot and the objective shot by calling attention to how one shot develops out of the other . Often her female characters ' passions are subjectivized not through point - of - view shots but instead by being rooted in and thus ...
... shot and the objective shot by calling attention to how one shot develops out of the other . Often her female characters ' passions are subjectivized not through point - of - view shots but instead by being rooted in and thus ...
Inhalt
Contents | 2 |
A Theory of Effeminate Enthusiasms | 59 |
Strategies | 93 |
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