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Abstract Though virtually unknown in America, Bruno Dumont is among France's most provocative young directors. Using his award-winning first feature as a case study, this essay analyzes Dumont's deconstruction of commercial cinema, denial of the complacent pleasure it offers spectators, and...
Abstract Signs' alien invaders appear from alternate, and not entirely consistent, perspectives distorted by ex-minister Graham Hess's compulsive memory of his wife's death, the schematic interpretations of the media and, finally and definitively, the indiscriminate systematizing of Graham's...
Abstract The tools of digital filmmaking are transforming all aspects of cinema, including production, postproduction, and exhibition. In the process, they are altering the visual characteristics of the moving image and changing the viewer's perceptual understanding of the nature of cinema,...
Abstract Quoting Truffaut's Jules and Jim, Amélie claims to be a new New Wave film. Instead, its calculated style returns to 1930s Poetic Realism and Under the Roofs of Paris . With spontaneity and complexity stripped from character and city alike, Amélie delivers merely a pleasurable fantasy...
Abstract This paper posits that the formula for India's popular cinema (a.k.a. “Bollywood”—the Hollywood of Bombay) has been fundamentally contoured by the psychodynamics of orality, i.e., by the thought processes and personality structures that distinguish a non-writerly mindset and its...
Abstract A conversation with Peter Kubelka, focusing on Our African Journey ( Unsere Afrikareise , 1966), his short, brilliantlye dited exposé of colonialism, constructed from sound and image recorded while he was a young filmmaker in the employ of several Austrian businessmen on safari in...
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