Titlebook: Medieval and Early Modern Film and Media; Richard Burt Book 2008 Palgrave Macmillan, a division of Nature America Inc. 2008 cinema.film.Mi

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978-0-230-10560-7Palgrave Macmillan, a division of Nature America Inc. 2008

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https://doi.org/10.1007/978-0-230-61456-7cinema; film; Middle Ages; premodern; William Shakespeare; British and Irish Literature

對手

The Medieval and Early Modern Cinematographosphere: De-composing Paratexts, Media Analogues, and thIn a late interview on the topic of the transition from paper to digitalization of print media conducted shortly before his death, Jacques Derrida adopts the neologism of the “graphosphere” to describe paper as a multimedia screen. Derrida’s (2005) graphosphere is not confined to writing on paper:

Cholagogue

,Le détour de Martin Guerre: “Anec-notes” of Historical Film Advisors, Archival Aberrations, and theIn the opening title sequence of . (dir. Daniel Vigne, 1981), Natalie Zemon Davis is given a prominent credit as historical consultant (see figure 4.1, upper left).

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Introduction: Film before and after New Media, Anec-notology, and the Philological Uncanny,gital media of the postmodern present (computer screens, pdf, film, DVD) have by now become familiar.. . follows in the tracks of this scholarship: I read the historical film, focusing chiefly on . (dir. Carl Theodor Dreyer, 1943), . (dir. Anthony Mann, 1961), . (dir. Ridley Scott, 2005), and . (dir

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聯(lián)邦

Cutting and (Re)Running from the (Medieval) Middle East: The Return of the Film Epic and the Uncanni McAlister maintains that the Biblical film epic and the sword and sandals film epic were central to the development of U.S. foreign policy from 1946 to 1960 and that film epics such as . (dir. Cecil B. DeMille, 1956), . (dir. Mervyn LeRoy, 1951), and . (dir. William Wyler, 1964) need to be read no

dapper

Epilegomenon: Anec-Post-It-Note to Self: Freud, Greenblatt, and the New Historicist Uncanny,ge larger questions about visualization, psychoanalysis, and historicism Stephen Greenblatt (1986b) raises in his essay “Psychoanalysis and Renaissance Culture.”. We may thereby begin to appreciate more fully what Christian Keathley (2005) has termed “the filmic quality of the new historicist anecdo

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