繁荣中国
发表于 2025-3-25 05:08:27
Romancing Post-Napoleonic Britainieved through the handheld lens of the telescope in Hoffmann’s ‘The Sandman’ and the camera lens in Benjamin’s ‘Mechanical Reproduction’ essay. The doubling employed in Rouben Mamoulian’s . (1931) gives an example of explicit filmic treatment of leitmotifs of Romantic provenance.
Seizure
发表于 2025-3-25 08:03:20
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Adenocarcinoma
发表于 2025-3-25 15:14:50
,Doubles and the Shadows in Plato’s Cave,ieved through the handheld lens of the telescope in Hoffmann’s ‘The Sandman’ and the camera lens in Benjamin’s ‘Mechanical Reproduction’ essay. The doubling employed in Rouben Mamoulian’s . (1931) gives an example of explicit filmic treatment of leitmotifs of Romantic provenance.
杀死
发表于 2025-3-25 19:42:35
Extensions of the Self, and distant vision’ discerned in Cézanne by Jonathan Crary (Crary, 1999, p. 340). (The same applies to Hitchcock’s ., one of this book’s key texts, the rapid oscillation of its ‘vertigo-effect’ approximating both simultaneity and the dizziness occasioned by the hand’s approach to the taboo object, the fetish.)
名次后缀
发表于 2025-3-25 21:38:57
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外科医生
发表于 2025-3-26 00:34:41
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peak-flow
发表于 2025-3-26 06:27:53
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切掉
发表于 2025-3-26 10:56:47
Doubling, Distance and Identification in the Cinema
OASIS
发表于 2025-3-26 15:09:53
Doubling, Distance and Identification in the Cinema978-1-137-39669-3
ETHER
发表于 2025-3-26 18:39:56
Doubling, Distance and Instruments of Perception,still is in fact) elsewhere, only one sense having left the point of departure. With regard to Wim Wenders’ . (1987), the ‘double vision’ correlated in the previous chapter with its use of superimposition and ‘phantom hapticity’ results here from its oscillation between black-and-white and colour.