the representation of emotions and on our recognition of the emotional states of characters in a scene from the German film series Heimat 3: Chronik einer Zeitenwende (Edgar Reitz, 2004). His choice of this example relates to the fact that it may
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Putting the Culture into Bioculturalism
A Naturalized Aesthetics and the Challenge of Modernism
Dominic Topp
Questions of Authorship
Some Comments on David Bordwell’s Narration in the Fiction Film
Paisley Livingston
intellectual property but the “moral rights” of authors, such as the right to control the conditions under which one’s work is made public. German law, for example, rules that “Urheber ist der Schöpfer des Werkes” (The author is the creator of the work
Torben Grodal
make the mix of causes of FEAR even larger, the bad guys are Germans, so the film may activate all the different clichés about cruel German efficiency, even though, again, the FEAR may for the more knowledgeable viewers get a humorous tint by letting
The Aesthetics of Boredom
Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia
Emre Çağlayan
. Alonso , Lisandro . 2001 . La Libertad . Argentina . Benning , James . 2009 . Ruhr . Germany . Bresson , Robert . 1951 . Diary of a Country Priest (Journal d’un curé de campagne). France . Ceylan , Nuri Bilge . 2011 . Once Upon a Time in
Andreas Baranowski and Heiko Hecht
revolution, most psychological works on film were along the lines of clinical psychology—that is, they were mostly psychoanalytical. Two notable exceptions were Münsterberg’s Photoplay (1916) and Rudolf Arnheim’s Film as Art (first published in German in
Ted Nannicelli
in artistically relevant ways. The Huppertz score, composed in Weimar Germany, invokes Wagner and Strauss, while Moroder’s score evokes a sense of 1980s postmodern pastiche—two very different sonic atmospheres that complement the image track in quite
Qihao Ji and Arthur A. Raney
Suspension of Disbelief towards a Theory of Tolerance for the Usage of Fictional Films . Cologne, Germany : Halem Verlag . Böcking , Saskia , and Werner Wirth . 2005 . “ Towards Conceptualizing Suspension of Disbelief for Communication Research
Philip Cowan
-length mirror, almost creating the infinite image familiar in Kane . Lieberman and Hegarty acknowledge German Expressionism’s influence on Toland (2010: 35), and I would consider that collaborating with Freund on Mad Love would have been a seminal moment for
Catalin Brylla and Mette Kramer
. https://tel.archives-ouvertes.fr/tel-01223306/document . Ward , Paul . 2005 . Documentary: The Margins of Reality . London : Columbia University Press . William , Jennifer Marston . 2017 . Cognitive Approaches to German Historical Film: Seeing Is
Andrew J. Webber
on Cate Shortland’s 2012 feature Lore , a German-Australian co-production based on Rachel Seiffert’s narrative of the same name from The Dark Room (2001) and shot in Germany, in German, with a German cast. The film, set at the end of World War II