interpretive ambiguities. Examining realism in documentary is also a matter of examining the “truth” of documentary. In one of the most original essays in the volume, “The Duties of Documentary in a Post-Truth Society” (93–111), Dirk Eitzen examines
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The Aesthetics of Boredom
Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia
Emre Çağlayan
national duty. 2 However, his boredom is not only related to the timebound simple boredom commonly associated with the stasis of provincial life. Rather, he seems to be disaffected with a kind of boredom that runs deeper, independent of time and space
Philip J. Hohle
duty for Munny. “[After Ned is killed] he needs to get back at them and show them that it’s not the right thing to do.” In PW , Taylor (age twenty-one) was one who employed some text cues in blaming the larger social system for Butch’s actions: I feel
Gradation of Emphasis in the CinemaScope Westerns of Anthony Mann
A Style Analysis
Sam Roggen
report for duty in the army fort they have sought shelter at, Mann challenges the viewer with a very long shot. Figure 5 Jed and Mungo arrive in the far distance on the upper right side of the composition . When the light-hearted trappers leave their
Jason Dean and Geoffrey Raynor
lead to the dark side. This is exemplified when Anakin’s attachment to his mother leads him to abandon his Jedi duties in an attempt to rescue her from her captors. When he is unable to save her life, he is overcome with guilt. Unable to tolerate this
Introduction
Visibility and Screen Politics after the Transgender Tipping Point
Wibke Straube
their articles. I am extremely grateful to those who tried, beyond the call of duty, to make it work—and to those who managed to finalize the now-published versions of their articles. I would like to thank the authors, Jess, Martin, Lara and Erin, for
On Shock Therapy
Modernist Aesthetics and American Underground Film
William Solomon
in a related manner, “to train the speed of our perception—in defiance of all physiology—for the extreme requirements of a technical war” (2010: 152) . 11 For a related analysis of the first-person-shooter video game Call of Duty: Black Ops , see