Titlebook: Literature and Visual Technologies; Writing After Cinema Julian Murphet (Lecturer),Lydia Rainford (Junior R Book 2003 Palgrave Macmillan, a

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Writing the Alphabet of Cinema: Blaise Cendrarsndon in 1909, he shared a miserable room with an aspiring entertainer by the name of Charlie Chaplin. A decade later he collaborated with Abel Gance on . and ., and wrote the screenplay of another project, . The early 1920s saw him making a film entitled . at the Rinascimiento studios in Rome, and h

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The Grammar of Time: Photography, Modernism and Historypted surface where ‘the spatial appearance of an object is its meaning’.. One figuring time as a linear vector, the other assimilating space to the two-dimensional plane of the photographic print, photography and historicism mark the reduction of what were previously categories of experience to abst

INERT

Writing Images, Images of Writing: Tom Phillips’s , and Peter Greenaway’s Textual Cinemafied by ., and postmodern cinema, as exemplified by Peter Greenaway’s films. Greenaway’s cinema has been intimately connected to literature and the idea of writing and related concepts, such as the book, throughout his career. Phillips’s and Greenaway’s works may be seen as reflecting and engaging w

obscurity

Colin MacCabemple. Ironically, the conditions that most urgently lead to calls for international intervention expose the fragmented nature of human solidarity and the attendant frailty of notions of universal moral obligation based on the idea of common humanity. In the face of widespread human suffering caused

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Laura Marcusetuation.. In one scene during a party involving several other drunken friends, the couple have an argument that turns into a physical fight in which the husband dominates. The friends respond by fleeing the house ., leaving the couple to themselves, while the children are left to witness the violen

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colloquial

On Impurity: the Dialectics of Cinema and Literaturer we consider film from the point of view of the documentary record inaugurated by the Lumière brothers or the peep-show attraction with which Edison started, film very quickly reached audiences on a size and scale that literature could never dream of. As perhaps the most visible evidence of a new c

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