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“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

’s memorial service is in fact incorporated, reverberating deep within the film’s layered soundtrack (personal interview, August 2014). The film’s title derives from Wallace Stevens’s poem The Snow Man (1921). In the film, a child, about three years old, is

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Gianni Barchiesi, Laura T. Di Summa, Joseph G. Kickasola, and Peter Verstraten

in other ways. In both the film scene and the literary excerpt, there were extra inserts, either diegetic (parallel events from the story itself) or non-diegetic (from an animated film and, for the literary version, from a poem). Unsurprisingly, the

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Other Sides

Loving and Grieving with Heart of a Dog and Merleau-Ponty's Depth

Saige Walton

Sitney with regard to the American experimental filmmaker Stan Brakhage, the lyrical film takes its name from the first-person expression of feeling in the lyrical poem. In the lyrical film, it is the filmmaker who serves as the film's first

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What Does It Mean to Be an Ecological Filmmaker?

Knut Erik Jensen’s Work as Eco-Auteur

Mette Hjort

, the inside and outside of buildings, and the ochre red of logs, as well as the snow, water, and marshlands, before dwelling for some time on Pedersen, who stands reading in the landscape. The poem being read in this non-naturalistic staging of human

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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

-story was complemented with quotes and allusions from stories of Anton Chekhov and a poem by Mikhail Lermontov. See Andrew (2012) . References Andrew , Geoff . 2012 . “ Journey to the End of the Night .” Sight and Sound 22 ( 4 ): 28 – 32 . Arslan

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Toward a Model of Distributed Affectivity for Cinematic Ethics

Ethical Experience, Trauma, and History

Philip Martin

this sense, these aspects serve as the environmental information that Gibson most closely associates with affordances. This is the text of the drama or poem, and perhaps the screenplay of a film. It is the fact that Cheol-ho rubs his aching jaw, not the

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Jens Eder

small girl’s voice singing a song about death, then cuts to a close-up of a clock radio reciting Rilke’s sad poem “Autumn Day.” The protagonist Caden Cotard (named after Cotard’s syndrome and played by Philip Seymour Hoffman) lies in bed and stares

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Eliza Deac

writing only that survives the poet and grants him a form of immortality, despite the fact that it constitutes a poor replacement for his bodily presence. Consequently, his written poem becomes the transcription of a voice from beyond the grave or the

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On Shock Therapy

Modernist Aesthetics and American Underground Film

William Solomon

an inexperienced soldier trapped in a terrifying battle, Baudelaire’s early wanderings through the streets of Paris, in this account, left him in a state of emotional disarray. The writing of poems emerges from this diagnostic point of view as a

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Shadows, Screens, Bodies, and Light

Reading the Discursive Shadow in the Age of American Silent Cinema

Amy E. Borden

published a four-stanza poem, “Deus Ex Machina,” that gently mocked the “part mechanical, part make-believe” quality of the age of the “moving-talking, ten-cent picture show” ( Bowling 1912: 114 ). The third stanza questions what is lost and gained when