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

BULLY

Gertrude Stein’s Machinery of Perceptionkács, was ‘based on . observation’ and ‘must perforce be superficial’.. If Naturalism was the misguided attempt ‘to make literature scientific, to transform it into an applied natural science, into sociology’ (p. 140), then cinema, belonging technically to that ‘scientific’ paradigm, might relieve l

ALLEY

H.D.’s ,: an ‘endless store room of film’ been sustained interest in her writing since the early 1980s, her involvement in avantgarde film in the late 1920s and her contribution to the film journal . (1927–33) have only recently begun to attract critical attention.. Cinema precipitated a natural shift in H.D.’s conceptualisation of the ima

Lyme-disease

羊栏

canvass

CAND

下船

How to Read the Image? Beckett’s Televisual Memoryful reduction and negation, or as something more mired in repetition and proliferation, Beckett’s work is invariably read as an attempt to strip away what he referred to as ‘the word surface’.. Given this critical preoccupation, it is surprising that Beckett’s work in the visual media, and in partic

入伍仪式

Writing Images, Images of Writing: Tom Phillips’s , and Peter Greenaway’s Textual Cinemafor the insights they offer into the history and future of the book as a medium of information transmission. Artists’ books complement more conventional literary practices by using visual and other ‘non-literary’ elements. By so doing, they exemplify and illuminate the complex relationships between

遭受

Bouquet