Titlebook: Landscape Allegory in Cinema; From Wilderness to W David Melbye Book 2010 David Melbye 2010 cinema.film.Hollywood

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Introduction,sive approach to framing, editing, and juxtaposition. In the same way that Robert Wiene’s German Expressionist film . (1920) suggests its narrator’s insanity through contorted interior sets, certain films use outdoor locations to express their protagonists’ internal conflicts.

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Landscape Depiction before Cinema,th-century American sublime. There are also certain influential artists such as Hieronymus Bosch in the fifteenth century and Claude Lorrain in the seventeenth century whose particular treatment of landscape is evident in subsequent periods. The nineteenth-century Romantic sublime movement in partic

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Spiritualized Landscapes of the Nineteenth Century,, the sublime denotes natural phenomena that inspire fear, awe, wonder, amazement, and similar emotions of astonishment, whereas the beautiful refers to what should be considered antithetical, namely phenomena that inspire love, comfort, and complacency. Utilizing this distinction, landscapes such a

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Spiritual Wasteland Films,ation does not imply all mainstream filmmakers were aware of avant-garde films or their specific approach to natural settings. The overall experimental impulse of this period was enough to encourage landscape allegory in narrative cinema.

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Landscape Allegory in Hollywood,environments, while the dominant culture develops its urban centers around the most fertile and economically viable regions. The sequestration of American Indians to barren desert reservations is a good example of this cultural phenomenon, as is the marginalization of the Aboriginal people in the Au

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