The World is WatchingSIU Press |
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The World is Watching: Video as Multinational Aesthetics, 1968-1995 Dennis Redmond Vista previa limitada - 2004 |
Términos y frases comunes
aesthetic angel anime Anka Anno Anno's Artur Asuka background camera capitalism characters cinema close shots close-up cold cold war consumer culture consumerism Decalogue doppelganger dream sequence East Asian Eastern Elzbieta entry plug episode Evangelion father field finally framed FUYUTSKI Gainax gender Gendou geofront global hand Hanka Heiner Müller's Hong Kong horror film human Ikari images Jacek Janusz Japan Japanese Jerzy John Woo Kaji Kaoru Krzysztof Kieslowski later Majka Maria mass media McGoohan mecha media culture Michal micropolitics Misato multinational narrative neoliberalism Neon Genesis Evangelion neonational Nerv Nerv's Pawel pilot political postmodern Prisoner punk rock Rei Ayanami Rei's Ritsuko role Roman scene science fiction screen script scriptwriting Shinji Ikari significant social solidarity sound track space symbol thriller tion Tokyo-3 Tomek tropes turn video culture Village visual watching window ZOFIA
Pasajes populares
Página 190 - That glad, happy air, that winsome sky, did at last stroke and caress him; the step-mother world, so long cruel — forbidding — now threw affectionate arms round his stubborn neck, and did seem to joyously sob over him, as if over one, that however wilful and erring, she could yet find it in her heart to save and to bless. From beneath his slouched hat Ahab dropped a tear into the sea; nor did all the Pacific contain such wealth as that one wee drop.
Página 11 - quilting" can weave together sounds and images in ways that break with linear character-centered narrative, In such texts, multiple images can be "hung" on the screen like so many paintings in a gallery, obliging spectators to choose which image to contemplate, without losing themselves in any single image, All the conventional decorum of dominant narrative cinema - eyeline matches, position matches, the 30° rule, cutaway shots - is superseded by proliferating polysemy. The Plates 55.
Página 190 - His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. This storm irresistibly propels him into the future to which his back is turned, while the pile of debris...
Página 190 - But a storm is blowing from Paradise and has got caught in his wings; it is so strong that the angel can no longer close them. This storm drives him irresistibly into the future, to which his back is turned, while the pile of debris before him grows toward the sky. What we call progress is this storm.
Página 49 - ... MISSIONARY: After that dodge, they won't be able to say they don't fake. They've been stringing us along, (to THE VALET) Don't laugh! Don't you see what they're doing with us? THE JUDGE: (to THE NEGROES) According to you, there's no crime since there's no corpse, and no culprit since there's no crime. But let's get things straight: one corpse, two, a battalion, a drove of corpses, we'll pile them high if that's what we need to avenge ourselves. But no corpse at all— why that could kill us....
Página 36 - Futile / will not be pushed, filed, stamped, indexed, briefed, debriefed, or numbered. My life is my own; I.
Página 90 - ... its key, the one to which he was most committed beforehand, which challenged the state most directly, and whose radicalism required the protecting surround of nine other films. This voiceover explicitly raises the question of the function of law, framing it in Enlightenment terms, as social contract: The law should not imitate nature, the law should improve nature. People invented the law to govern their relationships. The law determined who we are and how we live. We either observe it or break...
Página 11 - esthetic of hunger," video-makers can deploy a kind of cybernetic minimalism, achieving maximum beauty and effect for minimum expense. Video switchers allow the screen to be split, divided horizontally or vertically with wipes and inserts. Keys, chroma-keys, mattes and fader bars, along with computer graphics, multiply audio-visual possibilities for fracture, rupture, polyphony. An electronic "quilting...
Página 185 - nothing," of course, is the unmistakable index of true love: Tomek is not to be satisfied with any positive content or act (going to bed with him, for example) by means of which Maria could reciprocate his love. What he wants her to offer in return is the very "nothingness...
Página 185 - ... this purity, intends to humiliate him and later changes her attitude out of a feeling of guilt. It is, on the contrary, Tomek's love that is fundamentally false, a narcissistic attitude of idealization whose necessary obverse is a barely conceived lethal dimension. That is to say, A Short Film on Love should be read against the background of slasher...