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Journal Article
English Language Notes (2015) 53 (1): 123–139.
Published: 01 March 2015
... a rd e and n e w le ft circle s.3 Despite a p ro lific ca reer s p a n n in g five decades and encompassing a wide variety films, from high profile studio productions to lo w -b ud g e t sex film s, W akamatsu's w o rk during the 60s and 70s cem ented his radical reputation. That this status has...
Journal Article
English Language Notes (2019) 57 (1): 51–71.
Published: 01 April 2019
...Margaret Cohen Abstract The 1940s and 1950s were a revolutionary era in both access to and imagination of the underwater environment in the most modernized nations of the globe. This article examines new possibilities in the exhibition of the underwater environment in film thanks to new dive...
FIGURES | View All (12)
Journal Article
English Language Notes (2020) 58 (1): 214–225.
Published: 01 April 2020
...Penelope Kelsey Abstract This essay brings Zayin Cabot’s concept of “ecologies of participation” into conversation with contemporary Mohawk- and Seneca-language films and language revitalization movements. For Indigenous peoples, these participatory events are often interactive storying of worlds...
FIGURES | View All (5)
Image
Published: 01 October 2021
Figures 1 and 2. The film’s two time lines intertwine visually in this match cut that emphasizes blood ties and senseless violence. More
Journal Article
English Language Notes (2020) 58 (1): 103–110.
Published: 01 April 2020
...Leila Gómez Abstract This article offers a reading of Lucrecia Martel’s film short Nueva Argirópolis (2010) in light of Domingo F. Sarmiento’s treatise Argirópolis (1850). Both Sarmiento’s text and Martel’s film address the question of landownership, river navigation, and the inequal distribution...
Journal Article
English Language Notes (2021) 59 (2): 9–19.
Published: 01 October 2021
...Adam Lowenstein Abstract This essay analyzes how George A. Romero, in his underrated psychological vampire film Martin , translates individual trauma (slow, process-based, unrecognized) into collective trauma (sudden, event-based, recognized) through a vocabulary of horror. The language of trauma...
Image
Published: 01 October 2021
Figure 3. Past (Berkano), present (David), and future (David’s son) are woven together in the film’s closing shot. More
Journal Article
English Language Notes (2020) 58 (1): 200–213.
Published: 01 April 2020
...Enrique Bernales Albites Abstract In Ciro Guerra’s film Embrace of the Serpent (2015), cultural exchanges between the central characters reveal the origin narratives and the curative power of plants valued by Indigenous cultures of the Amazon. This article analyzes how Embrace of the Serpent...
FIGURES
Journal Article
English Language Notes (2021) 59 (2): 20–34.
Published: 01 October 2021
...Figures 1 and 2. The film’s two time lines intertwine visually in this match cut that emphasizes blood ties and senseless violence. ...
FIGURES
Journal Article
English Language Notes (2019) 57 (2): 114–126.
Published: 01 October 2019
...Sue Vice Abstract This article examines the contemporary phenomenon of fiction and film about Holocaust survivors suffering from dementia. Earlier examples of this kind use dementia to explore the interior states of survivor guilt and the suppression of painful memories. By contrast, twenty-first...
Journal Article
English Language Notes (2021) 59 (2): 121–135.
Published: 01 October 2021
... a collective concern with these cultural themes, routinely employing haunted technologies to elaborate the perils and possibilities of existence in a world of incertitude. This article examines Shimizu Takashi’s 2004 Marebito with attention to how the film develops a critique of the estranging forces of late...
Journal Article
English Language Notes (2021) 59 (2): 109–120.
Published: 01 October 2021
... together with original synthesizer pieces that resemble those used in horror-film scores, vaporwave is an undead, artificial soundscape that floats somewhere between music and sound. Its fake nostalgia for an alternative yet ossified past aims to confront our contemporary social paralysis in the face...
FIGURES
Journal Article
English Language Notes (2006) 44 (1): 241–245.
Published: 01 March 2006
...Anne Morey Copyright © 2006 Regents of the University of Colorado 2006 The L a n gu a ges o f T h e P a s s io n A nne Morey Initially, Mel Gibson's decision to film The Passion o f the Christ (2004) in Latin, Aramaic, and Hebrew rather than in English struck the m ajor studios in Hollywood...
Journal Article
English Language Notes (2010) 48 (1): 113–127.
Published: 01 March 2010
... the h o rro r f ilm th a t o f characters on screen as m uch as that o f view ers, o u t there, alone to g eth e r in the darkened theater. M odern h o rro r film s depend on affect as m uch as th e ir lite rary predecessors, as Ellen M oers po in ts o u t in her discussion of the gothic romance...
Journal Article
English Language Notes (2006) 44 (1): 235–240.
Published: 01 March 2006
...Kent L. Brintnall Copyright © 2006 Regents of the University of Colorado 2006 M e l G i b s o n s Passion of th e Ch r is t a n d th e P o litic s o f R e s u r r e c t io n K e n t L. B r in t n a l l O ne of the most theologically insightful film s of 2004, Jonathan Hensleigh's...
Journal Article
English Language Notes (2007) 45 (2): 33–47.
Published: 01 September 2007
.... form ed, in the words of the latter, "a com posite beast w ith three faces."1 At the junction o f their personal and professional lives, they form ed POOL, a production company whose publications and film s made waves w ithin European intellectual and artistic circles between 1927 and 1933...
Journal Article
English Language Notes (2008) 46 (1): 201–207.
Published: 01 March 2008
... film s do not have much in com m on w ith that genre beyond the use of the same raw material. Certainly the m ulti­ layered, textured soundtracks of Solomon's film s and his striking use of chiaroscuro and color m anipulation (including complete desaturation) go beyond w hat m ost artists in this genre...
Journal Article
English Language Notes (2008) 46 (1): 61–74.
Published: 01 March 2008
... Resnais's 1959 Hiroshima m on amour, which is a film about m em ory in several senses. One could perhaps just as well discuss Resnais's earlier film , N uit e t brouillard, his docum entary on the Holocaust com plet­ ed only fou r years before Hiroshima, or L'année dernière à Marienbad, or Toute la m ém...
Journal Article
English Language Notes (2010) 48 (2): 111–128.
Published: 01 September 2010
... into question the justice of law's jurisdictional claims and line-drawing obsessions, these popu­ lar w orks and here we focus particularly on the genre of film n o ir can remind us of the contingencies of law's boundary-defining exercises. In this sense, we argue, they provide a kind of dissenting opinion...
Journal Article
English Language Notes (2007) 45 (2): 133–139.
Published: 01 September 2007
... (2005) and its preoperative male-to-female protagonist Bree (Felicity Huffman) heading home for sexual reassignment surgery situates itself as a journey across both the nation and boundaries of sex and gender. The film thus negotiates gender identity within the con­ straints of the road movie, a genre w...