Search Results for screen

... of a contract between the W GA and produc­ tion companies stipulating that the WGA has the exclusive jurisdiction to determine screen and advertising credit for writers who worked on the production. The jurisdiction of the W GA to determine credit which is the power o f w riters to decide authorship of works...

..., is not cin e m a tic (and n o r is it really a m ontage) th o u g h the im ages u n fra m e d fill the e n tire screen w ith ­ o ut any preparatory establishing shot. The w o b b ly and blurred video footage is co m p le ­ m ented by a grainy im age and flicker lines: it indicates the scenes are gathered...

... curiosity called a scrap screen : Scrap screens all too rare nowadays are simply ordinary w ooden or canvas screens with coloured scraps cut out and pasted all over them in such a way as to m ake m ore or less co h e ren t pictures. T he best w ere m ade ro u n d ab o u t 1880, b u t if you b o u g h t...

... like Siggraph o r the ACM conference on Hypertext. Concrete poetry is an earlier geographicallydispersed poetry movement, and these two movements are related insofar as their w ritin g addresses the screen. Am ong the first practitioners of digital w riting were poets in Brazil w ho had made...

... rose, in loggias echoes ricochet along: the scratchy foreground, a faded detail, the past gutters past in a present to pass: the dead brought back as a screen on a screen frost flowers, the candy floss garden where death is not yet & yes -teryear's ...

... piercing cry; at Richards quick m otion to screen him from the view o f his wife. But Richards was too late. W hen the doctors came they said she had died of heart disease of joy that kills. (354) Nowhere in the passage does Chopin state that Louise sees Brently enter. Indeed, while Chopin describes...

... for the viewer w ho has read the Gospels and wants to see them dramatized, fo r the non-Christian viewer w ho wishes to fo llo w the narrative, the subtitles mandate close attention to the screen even during the eleven-minute scourging scene, where the intense violence m ight prom pt the desire to look away...

... substitutes for Arabella’s embodied experience one closer to his own. This substitution, however, does not operate according to the logic of synecdoche, where the part stands in for the whole. Rather, it comes nearer to functioning as a “screen memory” as first described by Sigmund Freud...

... either a shared fascination w ith the same texts and/or a species of seduction whereby readers give in to an interest in both texts and process. (Against a screen or, better, two screens, both white, images em erging slowly, gradually, hinted, but ju s t beyond perception, to be seen out o f the side o f...

... want. Anonym ous, K/S slash fictio n 1 B isexuality functions (in)visibly as an am biguously formed, ambivalently defined structuring absence in queer discourse and in theories o f film and other screen media, yet it plays a vital role In narrative traditions, prom otional strategies, and spectatorial...

... a "obtained a new lease o f life " in the 1930s. Rendered m ore accessible in a rtistic fo rm and "b ro u g h t closer to the view er," the film s o f this period facilitated greater spectatorial engagem ent w ith on-screen events and perm itted stronger identification w ith dram atic protagonists.9...

... a gothic rhetoric of claustrophobia and fear of the unknown. When Sarah looks out the kitchen window, the setting shifts to “a small screening room, a movie theater, and the window was, in truth, a screen” ( RT , 34). Sarah observes her new surroundings and notes a muttering voice that “had become other...

... entertainment. Is Gibson's movie just a mainstream version of horror-film gore or a profound memento mori about meaningful sacrifice and redemption? How m ight it affect different types of viewers in the mass audience, bringing various fears and faiths to the screen, which are influenced by the perverse...

... focus onto the subject of race. Race serves here to screen (that is, to project as w ell as to conceal) the queer contours of the POOL enterprise. English Language N otes 45.2 Fall / Winter 2007 34 E n g l is h La n g u a g e n o t e s 4 5 .2 Fa l l / Win t e r 2 0 0 7 There is no denying...

.... Unlike the searing image o f M ary at the fo o t of the cross, Gibson's Jesus resurrect­ ed does not address the spectator, but gazes determ inedly into off-screen space, exiting the tom b to . . . what? Exact vengeance, inflict retributory pain, take up his position as an action hero avant la lettre...

... the occurrence o f events w hose im m e n sity w ash­ es over our capacity fo r representation. The m aterial devastation, the haunted eyes, the spectacle o f m undane objects appearing in unim aginable scenes, all insists th a t som ething, indeed, happened. The newspaper photo, the com puter screened im age...

...Eleni Sikelianos Copyright © 2008 Regents of the University of Colorado 2008 from Body C lock E l e n i S ik e l ia n o s fall's velvets slide off the hill, slip, leaf, past the ear nuzzle winter's screen. Slow fade.These (leaves) the child (who started with nothing) picks up, hangs in a tree...

... with the possibility of living off the screen. Considering this, the 1992 film directed by Bernard Rose and the rebooted Candyman directed by Nia DaCosta demonstrate the sustained vitality of Black existence and memory through the utterance of a name. This article is concerned with the advent of Black life after...

...,” in which Stach’s unreliable memories of his own losses are shown to have screened out the truth that he was responsible for the suffering of others. In Michael Lavigne’s novel Not Me (2005) and Atom Egoyan’s film Remember (2015), this notion of discovering that ill-doing originates in the self rather...

... i­ nates off-screen in a violent explosion: a bom b planted In a car by a shadowy, anonymous figure on the Mexican side of the border explodes on the American side.13The opening scene poses a legal question which country's police can legitim ately investigate the o ri­ gins of the flam ing wreck...