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Philip Cowan

] 1997: 1–2)—I believe this is the fundamental strength of Wyler’s work, and what makes him a great director. The process that the actors and director go through, in terms of interpreting a script, would involve understanding and developing the

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Jason Dean and Geoffrey Raynor

to cast three separate men as Darth Vader in the original trilogy? Darth Vader is a fantastical character with a complex combination of superhuman stature and strength, inhuman mechanical features, and a kind and good interior beneath his frightening

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Andreas Baranowski and Heiko Hecht

( Konkle and Oliva 2011 ). This also extends to social situations and character traits; for instance, low camera angles produce images of strength and high camera angle images of weakness ( Baranowski and Hecht 2017a ; Sevenants and d’Ydewalle 2006 ). With

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A Structure of Antipathy

Constructing the Villain in Narrative Film

Jens Kjeldgaard-Christiansen

. His teeth are bared in a feral grin. Chigurh appears to be straining every muscle in his body. The viewer is meant to appreciate, and almost to feel, Chigurh's brute physical strength. A few seconds pass before the officer stops squirming, and Chigurh

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“Hitlermania”

Nazism and the Holocaust in Indian History Textbooks

Basabi Khan Banerjee and Georg Stöber

, 2017, 221. 75 Tamil Nadu XII, 2007, 321; Tamil Nadu XII, 2017, 222. 76 Saraswati XII, 2005, 243. 77 Tamil Nadu XII, 2017, 222. The 2019 edition does not delve into German sentiments. “Hitler's foreign policy aimed at restoring the armed strength of

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Jens Eder

: Phenomenology is strong in first-personal description, analytical philosophy in conceptual analysis, science in empirical explanation. A crucial strength of phenomenology lies in its potential to provide rich first-personal descriptions that convey subtle

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Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis

the “creation of lore” (127). Esch’s argument is intriguing and may capture parts of the Hollywood machinery such as the Academy Awards shows and their ritualistic design. Arguably, his account would gain strength from a case study of drama programs

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Brian Bergen-Aurand

This issue acknowledges the work of Rosalie Fish (Cowlitz), Jordan Marie Daniels (Lakota), and the many others who refuse to ignore the situation that has allowed thousands of Indigenous women and girls to be murdered or go missing across North America without the full intervention of law enforcement and other local authorities. As Rosalie Fish said in an interview regarding her activism on missing and murdered Indigenous women and girls (MMIWG),

"I felt a little heavy at first just wearing the paint. And I think that was . . . like my ancestors letting me know . . . you need to take this seriously: “What you’re doing, you need to do well.” And I think that’s why I felt really heavy when I first put on my paint and when I tried to run with my paint at first. . . . I would say my personal strength comes from my grandmas, my mom, my great grandma, and I really hope that’s true, that I made them proud." (Inland Northwest Native News interview)

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Editorial

Screening Vulnerability

Brian Bergen-Aurand

rather than capability or ability—with their links to energy, strength, power, and vitality—began to hold a more central place in my research and critical thought. I began rethinking what bodies do and what they do to us when we experience them

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Digitizing the Western Gaze

The End FGM Guardian Global Media Campaign

Jessica Cammaert

-motion scene of girls’ crying from within the room where they were cut, Sembène does not rely on images or audio of pain to communicate his point. Emotion is clear, but not terror, as he relies more on the strength of his female heroine, Collé (Fatoumata