作者: synovial-joint 時間: 2025-3-21 23:32 作者: 狂怒 時間: 2025-3-22 03:46 作者: Thyroid-Gland 時間: 2025-3-22 07:04 作者: MEAN 時間: 2025-3-22 11:54 作者: Bronchial-Tubes 時間: 2025-3-22 16:18
The Cine-Tourist’s Map of New Wave Parist and what would it tell us. The usefulness of maps in films is contrasted with the usefulness of maps of films. The mapping of shared locations, and of the New Wave’s shared world more generally, is read as an intertextual practice. Consideration is given to whether a map of New Wave Paris should i作者: Bronchial-Tubes 時間: 2025-3-22 17:48 作者: Admire 時間: 2025-3-22 22:45
The Cinematic , as a Site of Postmemoryfoundly spatial phenomenon; an aspect of the study of film and the Holocaust which has hitherto played a minor role in the literature. In particular, this chapter investigates the . as a cultural matrix in the memorialisation of the murdered Jews of Poland and includes a focus on survivors’ return j作者: 隱語 時間: 2025-3-23 04:48 作者: 嚙齒動物 時間: 2025-3-23 06:21 作者: 純樸 時間: 2025-3-23 11:48
Cinematic Urban Archaeology: The Battersea Casendon’s (SoL) research, in an attempt to answer the question raised by Raban; how do feature films reveal the ‘soft’ illusions, myths, aspirations and nightmares of city dwellers? Directors and cinematographers use space to express character and atmosphere; interiors and exteriors are selected, lit a作者: 耐寒 時間: 2025-3-23 14:07 作者: Entropion 時間: 2025-3-23 20:27
‘Los Angeles and Hollywood in Film and French Theory: Agnès Varda’s , (1969) and Edgar Morin’s , (19ng its many visitors, French filmmakers and philosophers provided some of the most interesting commentaries on its condition. Agnès Varda, Jacques Demy, Jacques Deray, Edgar Morin, Louis Marin, and Jean-Fran?ois Lyotard all resided in Southern California and produced films or books from their experi作者: 英寸 時間: 2025-3-23 23:08
Urban Cinematic Palimpsests: Moving Image Databases for the Cityys a shot-by-shot annotation with descriptive metadata, the statistical processing of the analysis and the graphic reconstruction of the accumulated results. This novel analytical toolkit has been tested with several tourist documentaries about Athens from the 1950s and 1960s, as part of a research 作者: osteoclasts 時間: 2025-3-24 03:43
https://doi.org/10.1007/978-3-031-14256-7 in 1575. A narrative layers methodology is applied to William Smith’s subjective rendering of Cambridge and reveals that it prefigures contemporary developments of the city in the twenty-first century.作者: opportune 時間: 2025-3-24 09:28
Regional Fisheries Management Organizationsary to cross-reference maps with further documentation in order to (re)gain a certain control over a city. Ultimately, Rosi’s film depicts a society where the ‘liquid stage of modernity’ (Zygmunt Bauman) has effected a loss of legal control over a city: maps, it is said here, ‘have turned out useless’.作者: 配偶 時間: 2025-3-24 12:05 作者: Fluctuate 時間: 2025-3-24 18:11 作者: 大洪水 時間: 2025-3-24 19:41
Chapter 11 The Quaternary in Africa,ges of the city has been neglected because of contempt for the medium. It is argued that it is on television, in the living rooms of the nation, that changing ideas of Britishness were negotiated and the essay concludes with a discussion of the Deptford-set detective series, .作者: 勤勞 時間: 2025-3-25 02:23
Chapter 5 The Mid-Proterozoic Kibaran Belts,ence. This essay zooms in on Varda’s film . (1969) and Morin’s book . (1970). These profit from a reading side by side because of their instructive similarities and differences, notably in their responses to LA’s distinctive landscapes, built environment, social heterogeneity, counterculture, and media spectacle.”作者: 有助于 時間: 2025-3-25 04:09 作者: 聽寫 時間: 2025-3-25 09:51
The Cinema in the Map – The Case of Braun and Hogenberg’s , in 1575. A narrative layers methodology is applied to William Smith’s subjective rendering of Cambridge and reveals that it prefigures contemporary developments of the city in the twenty-first century.作者: Femine 時間: 2025-3-25 12:06
Charting the Criminal: Maps as Devices of Orientation and Control in Fritz Lang’s , (1931) and Francary to cross-reference maps with further documentation in order to (re)gain a certain control over a city. Ultimately, Rosi’s film depicts a society where the ‘liquid stage of modernity’ (Zygmunt Bauman) has effected a loss of legal control over a city: maps, it is said here, ‘have turned out useless’.作者: 思想流動 時間: 2025-3-25 16:12 作者: cruise 時間: 2025-3-25 21:07 作者: 固定某物 時間: 2025-3-26 03:13
The Cinematic and the Televisual City: South London Revisitedges of the city has been neglected because of contempt for the medium. It is argued that it is on television, in the living rooms of the nation, that changing ideas of Britishness were negotiated and the essay concludes with a discussion of the Deptford-set detective series, .作者: 直覺沒有 時間: 2025-3-26 06:56 作者: FAST 時間: 2025-3-26 10:12 作者: 無關(guān)緊要 時間: 2025-3-26 13:23
pproaches and various perspectives to understand the portray.This book proposes new methodological tools and approaches in order to tease out and elicit the different facets of urban fragmentation through the medium of cinema and the moving image, as a contribution to our understanding of cities and作者: 大漩渦 時間: 2025-3-26 20:07 作者: 充氣女 時間: 2025-3-26 23:39 作者: Calculus 時間: 2025-3-27 04:58 作者: 修正案 時間: 2025-3-27 08:12
The Cinematic , as a Site of Postmemorythis chapter investigates the . as a cultural matrix in the memorialisation of the murdered Jews of Poland and includes a focus on survivors’ return journey to their ancestral home recorded in five case studies: . (., Pawe? ?oziński 1992), . (Marian Marzynski 1996), . (Jeffrey Bieber 2000), . (Slawomir Grunberg 2010), and . (Willy Lindwer 1992).作者: 哀悼 時間: 2025-3-27 13:09 作者: 可商量 時間: 2025-3-27 14:00
Ryoichi Nomura,Makoto Okamura,Takao Ohkawaiving members of the film crew. A third frame of memory is the Third Man tourist industry, taking film buffs to see the original locations: two rival tours, a cinema and a museum all feeding off foreign cinema-goers’ desire to compare fact with fiction.作者: Servile 時間: 2025-3-27 18:34
Strategic Trade Policy and Food Tradehistorical authenticity, suggesting instead ways of screening unbidden cultural forms, thresholds and geographies that reorganise the visual field; where the polis is revealed as a palimpsest of dormant tracks, hallucinations and information-flows set against the land’s physical contours.作者: Deadpan 時間: 2025-3-28 00:10
Lecture Notes in Earth Sciencespeople’s homes and how they inhabit them, the iconic elements emphasised by set decorators. They show public buildings, centres of commerce and entertainment, and the flow of people and traffic. The two volumes on Battersea published by Yale University Press by the SoL (2013) offers a counterpoint perspective on the films under consideration.作者: AMBI 時間: 2025-3-28 05:17 作者: 泄露 時間: 2025-3-28 08:25 作者: 記憶法 時間: 2025-3-28 13:53 作者: Classify 時間: 2025-3-28 17:05 作者: 高歌 時間: 2025-3-28 21:40
Cinematic Urban Archaeology: The Battersea Casepeople’s homes and how they inhabit them, the iconic elements emphasised by set decorators. They show public buildings, centres of commerce and entertainment, and the flow of people and traffic. The two volumes on Battersea published by Yale University Press by the SoL (2013) offers a counterpoint perspective on the films under consideration.作者: Inveterate 時間: 2025-3-29 00:00 作者: 雄辯 時間: 2025-3-29 04:29
https://doi.org/10.1007/978-3-540-35484-0ve and yet rather modest man and in our correspondence leading to the screening of . at the Arts Picture in Cambridge on 3 October 2013, he stated, ‘It’s a hard thing to try to make an unknown film, and a nobody behind it, known, or simply to get spectators’.作者: 預(yù)防注射 時間: 2025-3-29 09:36 作者: Genome 時間: 2025-3-29 12:20 作者: 榮幸 時間: 2025-3-29 16:06 作者: debase 時間: 2025-3-29 22:59
https://doi.org/10.1007/978-3-540-35484-0ve and yet rather modest man and in our correspondence leading to the screening of . at the Arts Picture in Cambridge on 3 October 2013, he stated, ‘It’s a hard thing to try to make an unknown film, and a nobody behind it, known, or simply to get spectators’.作者: 鋼筆記下懲罰 時間: 2025-3-30 00:44 作者: 劇毒 時間: 2025-3-30 05:40
https://doi.org/10.1007/978-3-031-14256-7relation between description and spectacle in aerial urban views between 1898 and 1948. As we will see, the aerial point of view encapsulates these two tendencies, not only showing and unveiling but also creating powerful sensations. Such urban aerial cinematic views are symptomatic of a close, stro作者: 竊喜 時間: 2025-3-30 08:47 作者: 總 時間: 2025-3-30 15:53 作者: 高興去去 時間: 2025-3-30 19:39 作者: watertight, 時間: 2025-3-30 21:34
Ryoichi Nomura,Makoto Okamura,Takao Ohkawans and sewers to create, not just atmosphere but a metaphor for the moral state of Europe, 3 years after WWII. Sixty years on, Frederick Baker used a praxis called ‘Projectionism’ to frame its memory. Clips were projected onto the locations where they were originally shot. The original film becomes 作者: 他很靈活 時間: 2025-3-31 02:25
https://doi.org/10.1007/978-4-431-55621-3foundly spatial phenomenon; an aspect of the study of film and the Holocaust which has hitherto played a minor role in the literature. In particular, this chapter investigates the . as a cultural matrix in the memorialisation of the murdered Jews of Poland and includes a focus on survivors’ return j作者: Coronary-Spasm 時間: 2025-3-31 07:53 作者: nocturia 時間: 2025-3-31 09:54
Takao Ohkawa,Makoto Tawada,Ryoichi Nomura emotional entailments, not least the way it relates to the mood of melancholy. Melancholy is a more interesting emotional category than happiness, or even sadness and depression. Melancholy is in the company of long-distance travel, ambivalence about feelings, self-reflection and irony. It is been
