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Titlebook: Ambiguity and Film Criticism; Reasonable Doubt Hoi Lun Law Book 2021 The Editor(s) (if applicable) and The Author(s), under exclusive licen

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发表于 2025-3-21 17:34:05 | 显示全部楼层 |阅读模式
期刊全称Ambiguity and Film Criticism
期刊简称Reasonable Doubt
影响因子2023Hoi Lun Law
视频video
发行地址Develops the dynamic of question-and-answer as a critical strategy to understand and appreciate films.Addresses challenging issues in film analysis such as “overreading”, the possibility of critical s
学科分类Palgrave Close Readings in Film and Television
图书封面Titlebook: Ambiguity and Film Criticism; Reasonable Doubt Hoi Lun Law Book 2021 The Editor(s) (if applicable) and The Author(s), under exclusive licen
影响因子.This book defends an account of ambiguity which illuminates the aesthetic possibilities of film and the nature of film criticism. Ambiguity typically describes the condition of multiple meanings. But we can find multiple meanings in what appears unambiguous to us. So, what makes ambiguity ambiguous? This study argues that a sense of uncertainty is vital to the concept. Ambiguity is what presses us to inquire into our puzzlement over a movie, to persistently ask “why is it as it is?” Notably, this account of the concept is also an account of its criticism. It recognises that a satisfying assessment of what is ambiguous involves both our reason and doubt; that is, reason and doubt can work together in our practice of reading. This book, then, considers ambiguity as a form of reasonable doubt, one that invites us to reflect on our critical efforts, rethinking the operation of film criticism.   .     .
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Palgrave Close Readings in Film and Televisionhttp://image.papertrans.cn/a/image/154385.jpg
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https://doi.org/10.1007/978-3-642-92460-6g the concept in and outside film criticism—by addressing the works of David Bordwell, André Bazin, and William Empson—it defends an account that sees ambiguity as more than the condition of multiple meanings. Decoupling the concept from its typical associations with “art cinema” and “modernist aest
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Allgemeine Grundlagen der Elektromotoren,cholas Ray, 1950). Suggesting both tenderness and violence, the gestures of the film’s main character Dix (Humphrey Bogart) mark his self-opacity, encouraging the viewer to inquire deeper into his thoughts and feelings. This investigation into a character’s “deeper reason” offers a way to rethink th
发表于 2025-3-23 04:22:56 | 显示全部楼层
https://doi.org/10.1007/978-3-662-36961-6scene. On the other hand, it attends to how these scenes—taken together, and seen in succession—feel puzzling as a conclusion of what precedes it. Specifically, there is a sense that the movie, defying what has been established and therefore against our expectations, drastically changes its moral po
发表于 2025-3-23 05:56:35 | 显示全部楼层
,Die Elektronenröhre als Galvanometer,aging with a performer’s seemingly inadvertent direct look at the camera in . (Fritz Lang, 1956), it details my own experience of this kind of scepticism, reflecting upon my “internal drama of doubt”. But my ability to offer a somewhat convincing reading of the detail, to unpack its suggestions, doe
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