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Modernism/postmodernism and origin/intertextual play in adaptation theory

Gordon E. Slethaug

Gordon E. Slethaug is a professor at the University of Waterloo, Canada, where he teaches English Language and Literature and researches contemporary American literature and film, globalization and communications, and international education. He is also honorary professor in Arts at the University of Hong Kong, China, and has recently been visiting professor of English Studies at the University of Southern Denmark. Author affiliation details are correct at time of print publication.

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Adaptation Theory and Criticism : Postmodern Literature and Cinema in the USA

Bloomsbury Academic, 2014

Book chapter

...Modernism: High culture, poetic genius, and influence In “Tradition and the Individual Talent,” T. S. Eliot set out to discover what creates a literary mind and a community of critics. He found the answer in what he called the “historical...

Melos, Drama, Melodrama: From Demy to Sirk to Antonioni

Paul Coates

Paul Coates is Professor in the Film Studies Department of the University of Western Ontario, Canada. He is the author of The Story of the Lost Reflection (1985), The Gorgon's Gaze: German Cinema, Expressionism and the Image of Horror (1991) and Cinema, Religion and the Romantic Legacy (2003). Author affiliation details are correct at time of print publication.

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Cinema and Colour : The Saturated Image

British Film Institute, 2010

Book chapter

...Introduction In the first chapter of this book I mentioned the relationship between colour’s licence to roam free and the practices of both modernism and fantasy. In each case, the elements of which the film is composed may be peeled...

Accident (2000)

Directed by

 Joseph Losey

Written by

Harold Pinter

Screenplay

Image
...The House. Night. Summer. Long shot. The camera is still, looking at the house from outside the gate, up the short curved drive, across the circular gravel court. In a meadow behind the house, dim shapes of animals. The camera moves slowly...

The Moment of Colour: Colour, Modernism and Abstraction

Paul Coates

Paul Coates is Professor in the Film Studies Department of the University of Western Ontario, Canada. He is the author of The Story of the Lost Reflection (1985), The Gorgon's Gaze: German Cinema, Expressionism and the Image of Horror (1991) and Cinema, Religion and the Romantic Legacy (2003). Author affiliation details are correct at time of print publication.

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Cinema and Colour : The Saturated Image

British Film Institute, 2010

Book chapter

...The Moment of Colour: The Fin De SiÈcle Any mythology seeking a pre-eminent ‘moment’ of colour’s liberation would have to take very seriously the candidacy of the fin de siècle. The preoccupation with colour may be most obvious in two...

Off the Rails: Animating Train Journeys

Animated Landscapes : History, Form and Function

Bloomsbury Academic, 2015

Book chapter

...In 2012 the average resident of the UK spent 361 hours travelling a total of 6,691 miles. Of this travel, 11 per cent was done by public transport.Department for Transport, National Travel Survey: 2012 (UK Government, 2013). During...

Spatial Computerisation and Film Language

New Screen Media : Cinema/Art/Narrative

British Film Institute, 2002

Book chapter

...This text is adapted from my book, The Language of New Media. Cambridge: MIT Press, 2001. Introduction How does computerisation affect our very concept of moving images? Does it offer new possibilities for film language? Does it lead...

(Self as) modèle environments

Dara Waldron

Dara Waldron is a Lecturer in Critical and Contextual Studies at the Limerick Institute of Technology, Republic of Ireland, with a particular focus on Lens-Based media (differing forms of moving image practices). He is the author of Cinema and Evil: Moral Complexities and the “Dangerous” Film (2013). Author affiliation details are correct at time of print publication.

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New Nonfiction Film : Art, Poetics, and Documentary Theory

Bloomsbury Academic, 2018

Book chapter

...We cannot (and should not wish to) determine how a new generation will address the contradictions of documentary; but the least we can ask is that they should be aware the contradictions exist Ben Rivers...

Spreadsheets, Sitemaps and Search Engines

New Screen Media : Cinema/Art/Narrative

British Film Institute, 2002

Book chapter

...I Media Studies both benefits from and is overdetermined by its double origin, among sociologists increasingly convinced of the centrality of communication to modernity, and among literary schools diminishingly persuaded of the relevance...
Image
...Day. A Country House A slow, methodical tracking shot through the ground floor of a country house. The camera skims along the walls, floats above the furniture in the living room, and eventually comes to a stop eight feet from the door...

The Tenderness of Scissors in Haircut (No. 1)

Warhol in Ten Takes

British Film Institute, 2013

Book chapter

...This essay focuses on Andy Warhol’s 1963 film Haircut (No. 1), which depicts a languid, homoerotic haircutting ‘party’ between four men in a Lower East Side apartment. In a sense, the setting of this film is bohemia itself – a unique set...