Titlebook: Comparative Cinema; Late and Last Things Paul Coates Book 2021 The Editor(s) (if applicable) and The Author(s), under exclusive license to

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書目名稱Comparative Cinema影響因子(影響力)




書目名稱Comparative Cinema影響因子(影響力)學(xué)科排名




書目名稱Comparative Cinema網(wǎng)絡(luò)公開度




書目名稱Comparative Cinema網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Comparative Cinema被引頻次




書目名稱Comparative Cinema被引頻次學(xué)科排名




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書目名稱Comparative Cinema年度引用學(xué)科排名




書目名稱Comparative Cinema讀者反饋




書目名稱Comparative Cinema讀者反饋學(xué)科排名

闡釋

法律

Classics and Modernity,. from which its actress protagonist turns away in the film’s founding event is in all probability that of Sophocles, and that despite Bergman criticism’s shelving of this issue such an ascription has important implications for the film’s reading. The discussion of Theo Angelopoulos’s . focuses on i

capsaicin

As One Cannot See,rge at multiple points. Particularly important is the question of whether or not there exist valid methods for seeing beyond or behind particular phenomena to disclose the workings of systems (and, if so, of what kind). A central issue is the status of metaphor in both works, the key ones being conn

公式

No End of Ruination,antic and modernist theories of the ruin and tracks the presence of the idea of ruination in a series of literary texts, including works by H.D., Beckett’s ., and Rachel Cusk’s work in general (. as both title and idea). It continues by tracking its presence in a series of films, including discussio

打算

Farocki, Theodor Fontane, Henry James, Krzysztof Kie?lowski, Chang-dong Lee, Roman Polański, Thomas Pynchon, and Paul Schrader, while the key recurrent motifs are those of dusk, the horizon, the labyrinth, and the ruin.978-3-030-69046-5978-3-030-69044-1

打算

https://doi.org/10.1007/978-3-322-99558-2his section will analyse it in terms both of the effect of the extent of influences acknowledged by Schrader himself (see his interview in . Summer 2018 for mention of Bresson, ., and .), of others not acknowledged in that interview (Tarkovsky, .), and of the degree to which the film re-works ., whi

intricacy

雪白

Wahlen als Legitimationsverfahren, invisible or in the process of disappearing, in particular the sun at dusk. Sunlight, the sun itself, and fire are all key aspects of a text that also draws densely on literary texts about burning, such as those by Murakami Haruki and William Faulkner, not to mention Lee’s previous film, .. The imp

Mnemonics

In My End Is My Beginning,his section will analyse it in terms both of the effect of the extent of influences acknowledged by Schrader himself (see his interview in . Summer 2018 for mention of Bresson, ., and .), of others not acknowledged in that interview (Tarkovsky, .), and of the degree to which the film re-works ., whi