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... want to. Probably. Courtroom, Superior Court – Day Harvey Dent bursts into the courtroom. Assistant DA Rachel Dawes looks up, annoyed. Dent Sorry I’m late, folks. Rachel leans in to Dent, speaking under her breath. Rachel Where were...
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... him. Wayne hoarse Rā’s al Ghūl? Armed Warriors of various races emerge from the shadows, their dress a mixture of modern combat and ethnic dress. Ducard o.s. Wait. The Warriors hold. Wayne looks at the source of the command: Ducard leans...
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... on the seat beside her, leans forward to talk to Laura. Dolly I really am worried about you, dear – you look terribly peaky. CUT TO Laura’s House. Night. MEDIUM SHOT of Laura as she approaches the gate of a solid, comfortable-looking house....
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... through trees at the Lodge gate cottage. The door is open. Silence. During titles Otto emerges from the cottage. He leans against the cottage wall and lights a pipe. He smokes, puts a hand in his pocket, and looks up at the evening sky,...
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... I’m as dry as a bone. Nell leans into shot to pass the port. Nell Mum’s quite right – what’s the sense in arguing …? Albert We wasn’t arguing – that was a friendly discussion. Mrs. Blake You’ll be telling me next that was a friendly...

War

The Griffith Project Volume 11 : Selected Writings of D.W. Griffith: Indexes and Corrections to Volumes 1–10

British Film Institute, 2007

Book

2

... their painful estrangement. War A dramatic composition in four acts by David Wark Griffith Persons in the play Jackson White, – a bondman Silas Jones; Caleb Sawyer; John Berry; Samuel Snowfall; Willie Beerbug; Farmer […]ills and [f]amily 1st...

Orphans of the Storm

The Griffith Project Volume 10 : Films Produced in 1919–46

British Film Institute, 2006

Book

3

... but not jointly, with David Mayer: since David and I were asked to address two different facets of Orphans of the Storm he and I felt we could write our parts separately, and then exchange notes. The result of the process is a sort of antiphony. I...

On the Aesthetics of Amateur Filmmaking in Narrative Cinema: Negotiating Home Movies after Adam’s Rib

David LaRocca

David LaRocca edited Stanley Cavell’s Emerson’s Transcendental Etudes, and later edited The Philosophy of Charlie Kaufman (2019), The Philosophy of War Films (2014), and The Philosophy of Documentary Film: Image, Sound, Fiction, Truth (2017), and is the author or editor of another handful of volumes. He has taught philosophy and cinema, and held visiting research and teaching positions at Vanderbilt University, Harvard University, Ithaca College, State University of New York at Cortland, Binghamton University, and Cornell University. More details at davidlarocca.org. Author affiliation details are correct at time of print publication.

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The Thought of Stanley Cavell and Cinema : Turning Anew to the Ontology of Film a Half-Century after The World Viewed

Bloomsbury Academic, 2020

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3

... to bolster what might be called the reality credentials of the fictional world. David LaRocca, “Introduction: Representative Qualities and Questions of Documentary Film,” The Philosophy of Documentary Film: Image, Sound, Fiction, Truth, ed. David...

The Afterlife of Triumph of the Will: The First Twenty-five Years

Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book

2

... purity, Heimat idylls, anti-Semitic diatribe, or national hegemony.See David Bathrick, “Modernity Writ German: State of the Art as Art of the State,” in Cultural History Through a National Socialist Lens: Essays on the Cinema in the Third Reich,...

Magnetic Connections: Terminator Genisys

David Greven

David Greven is Professor of English at the University of South Carolina, USA, and the author of many books, including Psycho-Sexual: Male Desire in Hitchcock, De Palma, Scorsese, and Friedkin and Manhood in Hollywood from Bush to Bush. Author affiliation details are correct at time of print publication.

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Queering The Terminator : Sexuality and Cyborg cinema

Bloomsbury Academic, 2017

Book

1

... woundable form. In comparison to the aging T-800 or Schwarzenegger body, the T-3000, with its lean, cut physique and eerie elfin smile, comes across as a cyber-dandy.In an illuminating analysis in her book The Body and the Screen, Michele White...