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Titlebook: New Argentine and Brazilian Cinema; Reality Effects Jens Andermann,álvaro Fernández Bravo Book 2013 Palgrave Macmillan, a division of Natur

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樓主: 小客車
21#
發(fā)表于 2025-3-25 05:56:05 | 只看該作者
Documentary Cinema and the Return of What Was, interviews with witnesses, and reenactments. A complex, contradictory, deceptive field: to explore memory in cinema is to come in constant contact with dangers that include the temptation to try to resee the past just as it was, the risk of considering the archive to be exhaustive evidence of the p
22#
發(fā)表于 2025-3-25 10:22:42 | 只看該作者
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發(fā)表于 2025-3-25 15:44:29 | 只看該作者
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發(fā)表于 2025-3-25 16:03:59 | 只看該作者
The Scene and the Inscription of the Real,d . (., 2008) by Jia Zhang-ke—the relations between documentary and fiction have taken on a configuration in which several things stand out: the use of theatrical proceedings in the composition of the filmed scene; the staging of lived events and experiences (undertaken by those who lived through th
25#
發(fā)表于 2025-3-25 21:56:00 | 只看該作者
26#
發(fā)表于 2025-3-26 03:07:34 | 只看該作者
,Exploding Buses: José Padilha and the Hijacking of Media,ction events, food riots, and so on. . The latter (“climate change”) can serve as one name for material processes that lie outside of the former’s window of reference. And if one wanted a single metaphor for this anthropic bubble, you might think of us as all on a .—its windows are like screens that
27#
發(fā)表于 2025-3-26 07:33:34 | 只看該作者
28#
發(fā)表于 2025-3-26 11:28:52 | 只看該作者
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發(fā)表于 2025-3-26 15:29:24 | 只看該作者
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發(fā)表于 2025-3-26 18:46:38 | 只看該作者
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