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Lucía y el sexo (2001)
Rob Stone

about authorship and designed to maximise his auteurist status in an international market. It delivers a complicated muddle of subjectivities rather than the geometrical exactitude of Los amantes del Círculo Polar and the fact that the subjectivity of Lorenzo, the author, should ultimately prove itself dominant corroborates the trend of Medem identifying with (and being identified with) his male protagonist. At the heart of Lucía y el sexo lies this complex interdependence of Medem and Lorenzo that has parallels in the relationships of the writer and the reader, the

in Julio Medem
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Derek Schilling

In the narrative cinema, style is often assumed to lie on the side of visible excess. It is the domain of the provocateur, the virtuoso, the formalist, the mannerist. This chapter presents the interdependence of film style and technique in the director's pursuit of cinematographic realism. It explores how sound and image are configured, and to what effect. And what is the production process envisaged from screenplay to shoot. In addressing cinematography, mise en scène, sound design, and music in synoptic fashion, the chapter shows why Rohmer's deceptively prosaic mode of presentation is ultimately so effective in sustaining and critiquing cinematic illusion at one and the same time. The filmmaker's practice runs slightly against the grain of the institutional mode of representation (IMR), prompting viewers to listen and look at the texture of a film and question assumptions about how film language works in its classical and modernist guises.

in Eric Rohmer
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Looking to pastures new
Ben Lamb

number of intricate narrative strands’ (Creeber 2015 a: 21). In The Killing , for example, there are ‘the crime plot’, involving the brutal rape and murder of a young girl; ‘the political plot’, set in motion when a local politician becomes a major suspect; and ‘the family plot’, focusing on the murdered girl’s friends and family. Lastly, a ‘theory of interdependence’ philosophically underpins the

in You’re nicked
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Catherine Constable

has an end also has a beginning. However, Neo’s submission Constable_01_Text.indd 143 4/3/09 14:36:01 144  Adapting philosophy to Agent Smith is more than a reversal and more than a replay of the role of object, because it brings about a new mode of relation between the two antagonists. The presentation of Neo’s ecstatic expression during the final embrace with Agent Smith, recalls his relation to Trinity. This takes the form of an inter-dependence that reverses and surpasses subject/object opposition. The new relation between Neo and Agent Smith fundamentally

in Adapting philosophy
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Derek Schilling

intertexts and artistic principles his films put into play, Chapter 2 reviews the abundant critical writings Rohmer published in France from the late 1940s to the early 1960s. That exploration leads up to the discussion in Chapter 3 of the interdependence of film style and technique in the director’s pursuit of cinematographic realism: how are sound and image configured, and to what effect? How is the production

in Eric Rohmer
Fettered geographies, unsettled histories and the abyss of alienation in the work of three Spanish women filmmakers
Parvati Nair

men’s part, these women allow them a lifeline into the future for themselves and their families (Nair, 2002 ). Ironically, then, the sole route to survival for the outlying community is through a difficult, if necessary, embracing of alterity. A curious interdependence emerges where the economic layers itself over the human and the communal. Through this jagged encounter, deep social and cultural

in Hispanic and Lusophone women filmmakers
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Catherine Constable

than opposition, its suspension or elimination, constitutes a key move away from Baudrillard. However, the use of well-worn imagery, particularly the presentation of sexual ecstasy as a form of death, means that the inter-dependence valued by the trilogy does not constitute an Constable_01_Text.indd 150 4/3/09 14:36:02 Conclusion  151 entirely new conception of inter-relationality. The inter-relation between Neo and Trinity is not a new form of co-dependence, such as Irigaray’s models of feminine merging and fluidity, which are expressed through figures of the

in Adapting philosophy
The punk scene in Munich, 1979–82
Karl Siebengartner

like I did) so you can’t recognize them as punks anymore. By the way, you’ll recognize me as ONE OF THOSE. … We know each other too little.’26 Within the scene, fixed patterns of clothing soon became dated, indicating the incompleteness of self-formation. Individual style and punk characteristics were never fully compatible, despite their interdependence. As a result, attempts by individuals to integrate into the wider punk scene could lead to conflicts of punk identity. This, in turn, sometimes provoked fights over interpretations of the punk self. The scene was

in Ripped, torn and cut
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The ‘frontier condition’ in María Novaro’s Sin dejar huella
Sofía Ruiz- Alfaro

of view, critical approaches and generic conventions, the borderlands have historically become a space in which notions of identity and citizenship are persistently redefined; the border creates cultural, economic and social spaces that are in constant negotiation. The new economic order deepened the economic interdependence between the two countries and highlighted the United States’ role as the

in Hispanic and Lusophone women filmmakers
The semantic paradigm of British radio dramaturgy and its problems
Farokh Soltani

, the interdependence of the elements could hinder the separation. Therefore, the producer's choice of sounds is, McLeish puts it, a ‘search for clear associations between situation and sound’ ( 1994 : 234). As such, what this means in practice is that even before specific sounds are selected and realised from what occurs in the dramatic world, they are already chosen from a lexicon of conventional associations that radio practitioners ‘over the years have developed […] with generally understood meanings’ (McLeish 1994 : 234). For example, even disregarding the

in Radio / body