Titlebook: Creativity And Constraint In The British Film Industry; Duncan J. Petrie Book 1991 Palgrave Macmillan, a division of Macmillan Publishers

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舞蹈編排

hypotension

Introduction,n which the concept ‘creativity’ has been used in film theory and criticism. Taken together, these separate but related discourses will form the theoretical basis for the substantive work in this study.

緩和

Genre, Aesthetics and Criticism,heir audience. These resources are related to technological resources such as cameras, lenses, film stock, lighting, editing and dubbing facilities. Consequently, the individual film-maker is afforded a wide range of aesthetic and technical possibilities from which to draw upon.

敲竹杠

Creativity and Cinema,film-maker becomes merely one element. The original conception of conscious creativity has been gradually shed along the way — firstly in terms of a shift towards the notion of authorship as an unconscious structure, and subsequently, of a general valorisation of the spectator at the expense of the film-maker/author.

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沉默

Factorable