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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ema, but also to premodern and early modern media. This philological approach to the (pre)history of cinema engages both old media such as scrolls, illuminated manuscripts, the Bayeux Tapestry, and new digital media such as DVDs, HD DVDs, and computers. Burt examines the uncanny repetitions that now

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Book 2008orical films, thereby presenting new challenges to historicist criticism and film theory. With a double focus on recursive narrative frames and the cinematic paratexts of medieval and early modern film, this book calls our attention to strange, sometimes opaque phenomena in film and literary theory that have previously gone unrecognized.

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Cutting and (Re)Running from the (Medieval) Middle East: The Return of the Film Epic and the Uncannr open to all races and cultures. Foreign policy has a cultural component, and the film epic was a highly significant part of that culture, framing the “religious narratives in terms of contemporary politics” (McAlister 2001, 44).

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The Passion of , and the Circumfixion of Cinematic History: Stereotypology/Phantomimesis/Cryptomorpwords “vox populi” appear in the lower right side of the screen, with a smaller “vox dei” written below them. The heroic emperor Marcus Aurelius gives a speech about citizenship and civil rights that is even more explicitly about America and the Cold War and comes even earlier. In short, Mann’s libe

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Antioxidant

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B. Randelles. It gathers studies on language revitalisation from several territorial minority languages (Breton, Alsatian, Catalan, Occitan, Basque, Corsican, Francoproven?al, Picard, Reunionese) and evaluates the challenges and opportunities that they face in the 21st century.?The chapters tackle different a

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