CLOUT
发表于 2025-3-23 09:41:13
: Subjective Perception of an Urban Utopia Through the Lens of Love and Losss and Felipe Hirsch‚ 2009). Although set in Brasília, the film chooses to conceal spaces that would make the city recognizable, with its monuments and public landmarks, opting instead to depict barren landscapes and empty urban places that intensify feelings of detachment and displacement. The chapt
landmark
发表于 2025-3-23 15:51:51
http://reply.papertrans.cn/88/8732/873173/873173_12.png
NOCT
发表于 2025-3-23 20:20:06
http://reply.papertrans.cn/88/8732/873173/873173_13.png
小母马
发表于 2025-3-24 01:31:27
http://reply.papertrans.cn/88/8732/873173/873173_14.png
公理
发表于 2025-3-24 04:24:30
http://reply.papertrans.cn/88/8732/873173/873173_15.png
VERT
发表于 2025-3-24 07:25:41
‘Casa Grande & Senzala’: Domestic Space and Class Conflict in , and ,Lula and Dilma:./. (Fellipe Barbosa, 2014) and ./. (Anna Muylaert, 2015). Both films portray the social dynamics in upper-middle-class households, where cleaning maids live in the back rooms, which comments on the colonial past of the slave owning families. The chapter contends that the films make u
健壮
发表于 2025-3-24 13:33:57
: Aural Space, Surveillance, and Class Strugglelho, 2012). It investigates the film’s aural space as an element that conveys fear and paranoia, while also revealing class antagonism. The chapter contends that sound can suspend the narrative and deterritorialize the image, thus shifting the viewer’s attention to the off-screen, which often sugges
Keshan-disease
发表于 2025-3-24 17:55:12
http://reply.papertrans.cn/88/8732/873173/873173_18.png
小歌剧
发表于 2025-3-24 20:57:52
Book 2017e known as the .retomada., but especially in the cinema of the new millennium. The chapters take spatiality as a powerful tool that can reveal aesthetic, political, social, and historical meanings of the cinematographic image instead of considering space as just a formal element of a film. From the
epidermis
发表于 2025-3-25 01:50:58
Tikmũ’ũn’s Caterpillar-Cinema: Off-Screen Space and Cosmopolitics in Amerindian Filmreen spaces, and proposes that these films verge on what could be defined as a “shamanic critique of the political economy of the image”, thereby revealing the inevitable relationship of the films to the cosmology of the Tikmũ’ũn.