indices
发表于 2025-3-28 15:42:33
,Über- und Einsichten. Fragen zum D3D-Dispositiv,narrative strategies. On the one hand the focus is on films like ., ., and ., which explore cinema itself with a self-reflexive approach. On the other hand examples like ., and . foreground a “politics of space” transporting audiences (in)to places beyond the function of being merely “background” fo
GUEER
发表于 2025-3-28 20:44:54
https://doi.org/10.1007/978-3-658-09422-53D-Film; Film- und Medienästhetik; Filmwissenschaft; Medienwissenschaft; Narratologie; media research
溺爱
发表于 2025-3-29 02:39:21
978-3-658-09421-8Springer Fachmedien Wiesbaden 2016
BALK
发表于 2025-3-29 06:31:14
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松鸡
发表于 2025-3-29 08:31:34
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Ischemia
发表于 2025-3-29 13:05:47
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laxative
发表于 2025-3-29 19:18:50
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暂时休息
发表于 2025-3-29 19:42:42
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Paleontology
发表于 2025-3-30 03:36:14
https://doi.org/10.1007/978-1-349-12692-7lm. In the course of a detailed analysis, Feiersinger constitutes what she calls a “spatial narration” of the film, which can be compared to baroque illusory spaces, particularly Andrea Pozzo’s famous ceiling painting . (1691–1694). The strategies of creating and dissolving immersion which she obser
谁在削木头
发表于 2025-3-30 04:58:13
https://doi.org/10.1007/978-3-322-96315-4of 3D film, a medium is provided which deals with this subject in an intensive way. The films that have been produced within the last years reveal parallels which can be related to a new perspective on technology that attributes technology as constituting and transcending human subjectivity. These c