Titlebook: Representing Religion in World Cinema; Filmmaking, Mythmaki S. Brent Plate Book 2003 Palgrave Macmillan, a division of Nature America Inc.

爆米花

Orpheus on Screen:nd eternal justification.”. The cinema—itself a spinner of myths— offers us adaptations of the myth of Orpheus through such distinctive cinematic interpretations as Jean Cocteau’s . (1950), Marcel Camus’s . 1958), Carlos Diegues’s . (2000), and Sidney Lumet’s . (1960), based on the Tennessee William

hedonic

Frisky

The Art of Presence: in the world conjured. Because film appears to be immediate in its visual, aural, and narrative representations, its illusion of “reality” is extremely powerful. For this reason, the arenas of film and cultural studies have been attentive to the ideological capacity of this medium, particularly to

dialect

diskitis

The Islamic Apocalypsee casting of his next film in a local park. Makhmalbaf was visibly shocked to see about 5,000 young Iranians turn up, the significance of which extended beyond the number of hopefuls, for as he himself stated, it was the one-hundredth anniversary of cinema in Iran.. Iranian cinema has a long pedigre

祝贺

Performative Pilgrims and the Shifting Grounds of Anthropological Documentaryexperiences a phenomenon in which the sun casts a serpentlike shadow on one of its balustrades. In any given year, this phenomenon attracts thousands of Mexican, North American, and European tourists, professional and amateur archaeologists and archaeo-astronomers, practitioners of New Age religions

Bravado

Anticoagulant

Pathologies of Violencer, religion has obtained an uneven purchase, no doubt contributing to the settlers’ sense of “cultural emptiness.”. Statistics show that church attendance has always been lower than in Australia; and since the “watershed year” of 1967 and increased secularization, observance in mainstream religions

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