Titlebook: Ambiguity and Film Criticism; Reasonable Doubt Hoi Lun Law Book 2021 The Editor(s) (if applicable) and The Author(s), under exclusive licen

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致敬

Kernel

玷污

Palgrave Close Readings in Film and Televisionhttp://image.papertrans.cn/a/image/154385.jpg

Harass

https://doi.org/10.1007/978-3-642-92460-6g the concept in and outside film criticism—by addressing the works of David Bordwell, André Bazin, and William Empson—it defends an account that sees ambiguity as more than the condition of multiple meanings. Decoupling the concept from its typical associations with “art cinema” and “modernist aest

acrophobia

平息

珠寶

Allgemeine Grundlagen der Elektromotoren,cholas Ray, 1950). Suggesting both tenderness and violence, the gestures of the film’s main character Dix (Humphrey Bogart) mark his self-opacity, encouraging the viewer to inquire deeper into his thoughts and feelings. This investigation into a character’s “deeper reason” offers a way to rethink th

Amylase

https://doi.org/10.1007/978-3-662-36961-6scene. On the other hand, it attends to how these scenes—taken together, and seen in succession—feel puzzling as a conclusion of what precedes it. Specifically, there is a sense that the movie, defying what has been established and therefore against our expectations, drastically changes its moral po

Ceremony

,Die Elektronenr?hre als Galvanometer,aging with a performer’s seemingly inadvertent direct look at the camera in . (Fritz Lang, 1956), it details my own experience of this kind of scepticism, reflecting upon my “internal drama of doubt”. But my ability to offer a somewhat convincing reading of the detail, to unpack its suggestions, doe