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.
...Introduction: In the Shadow of Eisenstein
I wanted there to be red drops of blood in the black-and-white part, after the murder of Vladimir Andreyevich; but Fira Tobak would not have it; saying that would be Formalism. (Eisenstein...
Contemporary Masculinities in Fiction, Film and Television
Bloomsbury Academic, 2015
Book
...Orpheus has, in the twentieth century, been a myth recurrently taken up by artists and writers who wish to explore artistic creation and transmission, and also the imperatives of loss and recuperation. In his Afterword to his translation...
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.
...If yellow and blue, which we consider as the most fundamental and simple colours, are united as they first appear, in the first state of their action, the colour which we call green is their result. (Goethe, Theory of Colours, 801)Johan...
MARK BOULD is Reader in Film and Literature at the University of the West of England, UK. He is the author of Science Fiction: The Routledge Film Guidebook (2012), The Cinema of John Sayles: Lone Star (2009), Film Noir: From Berlin to Sin City (2005), co-author of The Routledge Concise History of Science Fiction (2011), and co-editor of the Science Fiction Film and Television journal. Author affiliation details are correct at time of print publication.
...Despite being one of Andrei Tarkovsky’s most successful films, Solaris (1972) was the one he most disliked. This dismissal of his most generically marked film has often been accepted by those quick to embrace the image of Tarkovsky...
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