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Titlebook: Comparative Cinema; Late and Last Things Paul Coates Book 2021 The Editor(s) (if applicable) and The Author(s), under exclusive license to

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As One Cannot See, invisible or in the process of disappearing, in particular the sun at dusk. Sunlight, the sun itself, and fire are all key aspects of a text that also draws densely on literary texts about burning, such as those by Murakami Haruki and William Faulkner, not to mention Lee’s previous film, .. The imp
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Book 2021xtuality. The works probed most fully are ones by Theo Angelopoulos, Ingmar Bergman, Harun Farocki, Theodor Fontane, Henry James, Krzysztof Kieślowski, Chang-dong Lee, Roman Polański, Thomas Pynchon, and Paul Schrader, while the key recurrent motifs are those of dusk, the horizon, the labyrinth, and the ruin.
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Book 2021thor’s argument that comparative criticism itself may constitute an endgame of criticism, arising at the moment at which societies or individuals relinquish primary adherence to one tradition or medium. The comparisons embrace different works and artistic media and primarily concern works of literat
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omparatism and the sense of ending, with particular referencThis book comprises what may be called exercises in ‘comparative cinema’. Its focus on endings, near-endings and ‘late style’ is connected with the author’s argument that comparative criticism itself may constitute an endgame of criticism,
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No End of Ruination,ns of Rossellini’s . and ., Grigori Kozintsev’s version of ., Pier Paolo Pasolini’s ., and the different forms of ruination of the image that inform Chris Marker’s . and the documentaries of Peter Forgács and avant-garde films of Bill Morrison.
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Introduction,if by diminishing light. The comparisons embrace different works and different artistic media, primarily those of literature and film, but also raise issues concerning the relationship between language and moving and still images, and inter- and intra-textuality.
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https://doi.org/10.1007/978-3-030-69044-1Ending; Ruin; Escape; Late Work; Comparatism
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