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Mass communications --- Hitchcock, Alfred --- 791.471 HITCHCOCK --- auteurtheorie --- deconstructie --- film en psychoanalyse --- film en semiotiek --- film --- filmkritiek --- filmtheorie --- gender studies --- media --- mediatheorie --- narratologie --- nieuwe media --- semiologie --- televisie --- 798.53 --- Derrida, Jacques --- semiotiek --- film, cineasten
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Deleuze, Gilles --- Guattari, Felix --- Culture in motion pictures. --- Motion pictures --- Philosophy. --- edited by Patricia Pisters ; with assistance of Catherine M. Lord --- film --- twintigste eeuw --- filmtheorie --- esthetica --- kunsttheorie --- Deleuze Gilles --- cultuurfilosofie --- Guattari Félix --- rhizomen --- filosofie --- theater --- politiek --- film en politiek --- Fincher David --- Fight Club --- Glamorama --- Easton Ellis Bret --- Ellis Bret Easton --- von Trier Lars --- Breaking the Waves --- cyberspace --- gender studies --- Spielberg Steven --- Schindler's List --- 791.41 --- 791.43 --- 7.01 --- 130.2 --- Culture in motion pictures --- Philosophy --- Deleuze, Gilles, --- Guattari, Félix, --- Guattari, F. --- Guattari, Pierre-Félix, --- Gvattari, Feliks, --- Deleuze, G. --- Delëz, Zhilʹ, --- Dūlūz, Jīl, --- دولوز، جيل --- Delezi, Jier,
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Culture in motion pictures. --- Motion pictures --- Philosophy. --- Patricia Pisters --- film --- filmtheorie --- Deleuze Gilles --- twintigste eeuw --- 791.41 --- Culture in motion pictures --- Philosophy --- Deleuze, Gilles, --- Deleuze, G. --- Delëz, Zhilʹ, --- Dūlūz, Jīl, --- دولوز، جيل --- Delezi, Jier,
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massacommunicatie --- Mass communications --- #SBIB:023.AANKOOP --- #SBIB:309H520 --- Audiovisuele communicatie: algemene werken --- Hitchcock, Alfred, --- Hitchcock, Alfred Joseph, --- Hsi-chʻü-kʻao-kʻo, --- Chitskok, Alphrent, --- היצ'קוק, אלפרד, --- Hīchakāk, Al-Frad , --- هيچکاک، الفرد، --- Criticism and interpretation. --- Hitchcok, Alfred
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Louis Van Gasteren was one of the most prolific filmmakers in the history of the Netherlands, with a resume that includes nearly eighty documentaries and two feature films - to say nothing of artworks and books. Filming for the Future offers an extended exploration of Van Gasteren's work and audio-visual world. Patricia Pisters introduces us to a filmmaker who always had his camera ready and was relentless in filming a wide range of topics and events of national and international importance. Fascinated by technology, deeply engaged with politics, and intensely occupied by the traumatic effects of war, Van Gasteren assembled an unparalleled record of life in twentieth-century Amsterdam and beyond. Filming for the Future will be an invaluable source of documentation and analysis of one of the key filmmakers of our time.
Gasteren, van, Louis Alphonse --- Motion picture producers and directors --- Motion pictures --- Directors, Motion picture --- Film directors --- Film producers --- Filmmakers --- Motion picture directors --- Moviemakers --- Moving-picture producers and directors --- Producers, Motion picture --- Persons --- Gasteren, Louis van, --- Van Gasteren, Louis, --- Gasteren, Louis Alphonse van, --- Criticism and interpretation.
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Since the turn of the millennium, a growing number of female filmmakers have appropriated the aesthetics of horror for their films. In this book, Patricia Pisters investigates contemporary women directors such as Ngozi Onwurah, Claire Denis, Lucile Hadžihalilović and Ana Lily Amirpour, who put ‘a poetics of horror’ to new use in their work, expanding the range of gendered and racialized perspectives in the horror genre..Exploring themes such as rage, trauma, sexuality, family ties and politics, New Blood in Contemporary Cinema takes on avenging women, bloody vampires, lustful witches, scary mothers, terrifying offspring and female Frankensteins. By following a red trail of blood, the book illuminates a new generation of women directors who have enlarged the general scope and stretched the emotional spectrum of the genre..Discusses how contemporary women directors have appropriated horror aesthetics, enlarging its generic scope and expanding its emotional spectrum. Revisits themes and concerns of the horror genre, from the perspective of women directors. Includes case studies of important female directed films, including Raw, Evolution and Atlantics. Revisits feminist themes such as female agency, gender and race relations and affect by returning to the work of feminist directors of the 1970s and 1980s (not necessarily considered as generic horror films), in comparison to contemporary women directors. Includes women of colour as well as white women directors, thus acknowledges both differences of the specific ethnic and social political contexts and shared concerns.
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Arguing that today's viewers move through a character's brain instead of looking through his or her eyes or mental landscape, this book approaches twenty-first-century globalized cinema through the concept of the ""neuro-image."" Pisters explains why this concept has emerged now, and she elaborates its threefold nature through research from three domains-Deleuzian (schizoanalytic) philosophy, digital networked screen culture, and neuroscientific research. These domains return in the book's tripartite structure. Part One, on the brain as ""neuroscreen,"" suggests rich connections between f
Digital media --- Motion pictures --- Neurosciences and motion pictures. --- Motion pictures and neurosciences --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Electronic media --- New media (Digital media) --- Digital communications --- Online journalism --- Philosophy. --- Psychological aspects. --- History --- History and criticism --- Deleuze, Gilles, --- Deleuze, G. --- Delëz, Zhilʹ, --- Dūlūz, Jīl, --- دولوز، جيل --- Delezi, Jier,
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Since the turn of the millennium, a growing number of female filmmakers have appropriated the aesthetics of horror for their films. In this book, Patricia Pisters investigates contemporary women directors such as Ngozi Onwurah, Claire Denis, Lucile Hadz̈ihalilović and Ana Lily Amirpour, who put 'a poetics of horror' to new use in their work, expanding the range of gendered and racialised perspectives in the horror genre. Exploring themes such as rage, trauma, sexuality, family ties and politics, 'New Blood in Contemporary Cinema' takes on avenging women, bloody vampires, lustful witches, scary mothers, terrifying offspring and female Frankensteins. By following a red trail of blood, the book illuminates a new generation of women directors who have enlarged the general scope and stretched the emotional spectrum of the genre.
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