Working-Memory
发表于 2025-3-28 15:17:08
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讥讽
发表于 2025-3-28 20:18:31
Purported Essence of Clinical Researcho instruments play in conveying the inner states of Elizabeth Bennet in . and Robbie Turner in . (2007), but also how the subjective perspective in the latter film is made ambiguous by its denouement.
施魔法
发表于 2025-3-29 00:49:15
,Eero Tarasti and the Narratological Construction of Rachel Portman’s ,,theories of embodiedness. Portman’s work illustrates the viability of Tarasti’s theories on embodiedness, in particular relation to the work of those thinkers whose views he perceives as antecedent to his own. Ultimately, this essay will treat Portman’s score for . as proof of Tarasti’s theories on the impact of narrative on music.
MAG
发表于 2025-3-29 04:16:48
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弯曲道理
发表于 2025-3-29 09:21:29
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充足
发表于 2025-3-29 12:30:10
he contemporary influence of electronic music, issues surrouThe purpose of this book, through its very creation, is to strengthen the dialogue between practitioner and theorist. To that end, a film academic and musicologist have collaborated as editors on this book, which is in turn comprised of int
organism
发表于 2025-3-29 17:44:23
Communicating uncertainty to policy makersk on the film . (1992). There is also a discussion of how music reinforces themes and aids in characterization in the films of Kieślowski, specifically . (1993) and . (1991), including the function of Preisner’s fictional alter ego Van den Budenmayer.
albuminuria
发表于 2025-3-29 23:18:14
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鸟笼
发表于 2025-3-30 02:04:31
Some Example Studies: Their Assessmentsthrough four Burwell films: . (1990); . (1996); . (1998); and . (2010), with an ear towards a deeper understanding of this process and the expansion of the narrative’s potential, which it represents, revealing aspects of place, time and character that would otherwise remain inaccessible to us.
佛刊
发表于 2025-3-30 04:02:20
Understanding Morphological Rulesaims at defining Williams’s contribution to contemporary scoring in fairer terms. The essay surveys Williams’s career in terms of his revival of the musical style and repertoire of Hollywood’s Golden Age, and compares his style with the general style of mainstream contemporary film music.