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Affirmation?New York Film Festival Report 2007 (Part Two)
Affirmation New York Film Festival Report 2007
2009/11/25
The most “cheer” spread by this year’s offerings, if we stretch the point, was to be found in a number of uncertain nods to the persistence and endurance of the human capacity for–being
human. Consid...
Anxiety:New York Film Festival Report 2007 (Part One)
Anxiety New York Film Festival Report 2007
2009/11/25
In this year’s offerings, anxiety runs high and affirmation is a wan beam of sunlight in a stormy landscape. At times, indeed, affirmation is more chilling than reassuring. In a range running from gre...
Fantasies of the Institution:The Films of Georges Franju and Ince’s Georges Franju
Fantasies of the Institution Georges Franju Ince’s Georges Franju
2009/11/25
With the exception of Eyes Without a Face (Les yeux sans visage, 1960) and Blood of the
Beasts (Le sang des bêtes, 1948), almost none of Georges Franju’s 14 short films and 8
features is currently a...
A Review of Andrea Sabbadini (ed.) The Couch and the Silver Screen:Psychoanalytic Reflections on European Cinema (2003)
Andrea Sabbadini Silver Screen Psychoanalytic Reflections European Cinema
2009/11/25
The Couch and the Silver Screen collects the contributions of the 2001 symposium
organized by the Institute of Psychoanalysis in London on psychoanalysis and cinema, with
the participation of analys...
The Temporality of the Real:The Path to Politics in The Constant Gardener
Temporality of the Real Path to Politics Constant Gardener
2009/11/25
One of the most profound ideas in Martin Heidegger’s Being and Time is the implicit link that
he forges there between our relationship to time and our relationship to ideology. We tend to
think of i...
The moon is dull. Mother Nature doesn’t call, doesn’t speak to you, although a glacier
eventually farts. And don’t you listen to the Song of Life.
Werner Herzog1 At the heart of the cinema of Werner...
The Politics of Gift-Giving and the Provocation of Lars von Trier’s Dogville
Politics Gift-Giving Provocation Lars von Trier’s Dogville
2009/11/25
In one of the most memorable scenes of Lars von Trier’s Dogville (2003), the ‘beautiful
fugitive’ Grace (Nicole Kidman) is visited in her improvised shelter at the restored Old Mill
by three of the ...
Tarkovsky and Levinas:Cuts,Mirrors,Triangulations
Tarkovsky Levinas Cuts Mirrors Triangulations
2009/11/25
In ‘Meaning and Sense’ (1964), Emmanuel Levinas tries, as he so often does, to explain why the ‘face’ that is such a loaded term in his writings is not the kind of face that we may think that we know:...
Samuel Beckett wrote just once for the cinema. Film was written in 1963 and first shown publicly in 1965, forty years ago (Beckett 1986, 321–334). Film was shot in New York in 1964, with the opening e...
Beyond Ontology:Levinas and the Ethical Frame in Film
Beyond Ontology Levinas Ethical Frame in Film
2009/11/25
From its beginning, film set forth a new scene for ethical and moral engagement. For more than a century, film’s frame and image have opened fresh space for enacting ethical and moral conflicts and di...
Mortal Ethics:Reading Levinas with the Dardenne Brothers
Mortal Ethics Levinas Dardenne Brothers
2009/11/25
To be ashamed of one’s immorality is a step on the ladder at the end of which one is ashamed also of one’s morality.(Friedrich Nietzsche, Beyond Good and Evil)Prior to the productive encounters that c...
When considering possible theoretical perspectives for an ethical conceptualisation of erotic or sexually explicit display in cinema, such as recent controversial work by French female directors Cathe...
Levinas,Nosferatu,and the Love as Strong as Death
Levinas Nosferatu Love as Strong as Death
2009/11/25
Love is not stronger than death. In Death and Time (La Mort et le temps, 1991) Levinas reminds us that, contrary to how it is often quoted or remembered, The Song of Solomon says that love is as stron...
The cinema has long reigned as the kinetic medium of the twentieth century. Early in its development it secured its privilege over the more traditional arts through its unprecedented control and manip...
In recent years, the concept of a ‘prohibition against representation’ and its ethical and political implications for artistic practices past, present and future have been subjected to renewed critica...