Search results

You are looking at 11 - 17 of 17 items for :

  • "stylistic techniques" x
  • Refine by access: All content x
Clear All
The Last of England and The Garden
Alexandra Parsons

home movies are noticeably thematically and stylistically different from the rest of the film, presenting generic characters and amateur stylistic techniques that indicate that they should be immediately read as home movies. As Jarman gives no context that might immediately and definitively situate the participants in the film within an understanding of his life on first watching, Jarman creates what Justin Wyatt terms a ‘“generic” home movie’. 28 And indeed this is what we read from the family sequences at first

in Luminous presence
Abstract only
Unpacking the political satire in Veep
Michael P. Young

ends up laughing at the popular American desire for facile solutions to complex problems in the twenty-first century. I will draw out three moments from Veep that evince how it shifts between simple comedy and complex political satire. Of the television programmes that we can categorise as political satires, Veep is the only one with a female lead, at least in the US. Other programmes which use some of the same stylistic techniques – the dialogue generally occurring in private, if hysterical and exasperated, tones, and shot in close-ups and

in Complexity / simplicity
Romantic attractions and queer dilemmas (Queer as Folk)
Geraldine Harris

eclectic and fragmented, employing differing stylistic techniques according to aspects of the narrative, character, scene or segment of action. Part 1 can be loosely divided into two halves with episodes 1–4, directed by Charles McDougall, introducing the main characters but focusing far more on establishing the milieu and on action. This section is especially ‘MTV’ in style, using a high proportion of swooping, sweeping and spinning shots, split screen, wipes and freeze frames at climatic scene endings. Yet within this, there are traces of a naturalistic documentary

in Beyond representation
Mary Wollstonecraft’s Frankenstein
Damian Walford Davies

Eagleton, the Irish novel more generally – confronts national trauma, the uncanny ‘stereoscopic depth of the nation’s time’ and the permeability of the boundaries between history, romance, the gothic, antiquarianism and tourist literature by adopting appropriate structural and stylistic techniques.80 These include the tousling and fracturing of the narrative line with ‘heteroglossic textures’, ‘alternative histories’ and ‘the play of multiple genres’ that befit the distressful political and ethnic ‘entanglements’ of Irish history and its ‘disrupted’, ‘recursive’ and

in Counterfactual Romanticism
Alexander Bove

, moreover, gives us in intensified form the same stylistic techniques of the narrator of these opening passages—the extreme condensations, the elliptical grammar, the distortions, even the cool irony set against powerful forces—and can thus help us answer the question we raised above about the ineffable tone of these opening pages. Dickens’s linguistic style, here, we may say, has

in Spectral Dickens
A certain tendency?
B. F. Taylor

the north of England’. The style and form of these films reflected this new range of cinematic representation but quickly became labelled as drab and gritty, with depressing portrayals of settings and characters. As Lay concludes: ‘Style’ refers to the aesthetic devices employed by film-makers and the artistic choices they make. These aspects of social realism refer to the specific formal and stylistic techniques employed by social realist film-makers to capture, comment on, and critique the workings of society. Form and style refer to elements within the text

in The British New Wave
Momma Don’t Allow (1956), We Are the Lambeth Boys (1959) and March to Aldermaston (1959)
Colin Gardner

the dancers is ample reward for this preparation as it gives the events an intimate, in-crowd quality, with Lassally’s hand-held camera – using mostly short close-ups and medium shots – acting as both casual spectator and spontaneous participant in the evening’s events. Part of this stylistic technique was the product of limitations in the Bolex camera itself. As Lassally later recalled, ‘The main limitation … was that it

in Karel Reisz