Titlebook: Latinos in the End Zone; Conversations on the Frederick Luis Aldama,Christopher González Book 2014 Palgrave Macmillan, a division of Nature

stripper

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MEN

Frederick Luis Aldama,Christopher González shot for shot remake, by contrast, takes the original film and creates a new version of it, prompting the equally disapproving question, “why not just rewatch the original?” For Paolo Cherchi Usai, there are three “motivations” for wishing to see the same film more than once. First, “the pleasure o

責(zé)問

Frederick Luis Aldama,Christopher González space itself. “It is only by breaking open the circle,” Deleuze writes, “by unfolding and untwisting it, that the dimension of sense appears for itself”.. To reintroduce Euclidean geometrics, the strip must be first cut, then unfolded and rotated through an .; external, that is, to the surface of t

寄生蟲

ACRID

Highbrow

Frederick Luis Aldama,Christopher Gonzálezat camera and character negotiate their wider environments. As Chapter 1 considers the films’ shaping of panoramic vistas and patterning of settings, this section attends to aspects of viewpoint and focus, on the way particular details are brought out across the breadth and width of the surroundings

nocturnal

Frederick Luis Aldama,Christopher Gonzálezssibility of modern American film to organise its ‘big architecture’ to render expressions of human closeness. In the four films, expressions of intimacy stem, for example, from sweeping long shots of fields, a mobile phone connection across vast distance, the surging sounds of a song on the radio,

Induction

osteoclasts

ollywood came under politically motivated investigation. Although the political doings of the Senate’s House Committee on Un-American Activities (HUAC) have no direct place in this study, its massively publicised investigations of alleged left-wing activity in Hollywood had an economic impact in tha

pericardium