- School of Culture and Communication - Research Publications
School of Culture and Communication - Research Publications
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ItemLe baroque recharge: effets speciaux et seductions technologiquesNDALIANIS, A. (Centre Regional de Documentation Pedagogique, 2006)
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ItemJeddaCREED, B ; Mayer, G ; Beattie, K (Wallflower Press, 2007)
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ItemBabelswarmCLEMENS, J ; Dodds, ; Nash, ( 2008)
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ItemLiquid AestheticsBARTLEM, EJ ; MARTIN, M ( 2006)
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ItemDarwin's Screens: Evolutionary Aesthetics, Time and Sexual Display in the CinemaCREED, B (Melbourne University Press, 2009)
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ItemThe untamed eye and the dark side of surrealism: Hitchcock, Lynch and CronenbergCREED, B ; Harper, G ; Stone, R (Wallflower Press, 2007)A sliced eyeball, scorpions fighting to the death, ants crawling from a hole in a hand, delirious lovers – these images, designed to delight and shock, capture the essence of the Parisian Surrealist movement of the 1920s and 1930s. The continuing influence of early or classic Surrealist filmmaking on popular, commercial filmmakers of the latter part of the twentieth century is evidenced by a different but equally disturbing set of Surrealist signature images: a severed ear lying on a country lane, a woman falling twice to her death from a bell tower, an exploding head and a man disappearing intothe parted lips of a television screen. There is no doubt that early Surrealists were in love with the image and its power to move the viewer. The Surrealists, however, did not extol the power of the image per se; rather they were drawn to the art of montage, that is, the way images could be edited together to create shocking and fantastic associations in order to affect the viewer emotionally. Contemporary filmmakers such as American director David Lynch and Canadian David Cronenberg are similarly fascinated by the power of Surrealism and shock montage to open up the imagination. The British director Alfred Hitchcock, who made a series of Surrealist masterpieces inHollywood in the 1950s and 1960s, was the first popular director to work in the Surrealist mode. The horror film, of course, has for decades drawn, tongue-in-cheek, on the dark jittery side of Surrealism.
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ItemVisconti's Il gattopardo: Melancholia and the Radical SensibilityNICHOLLS, M (Routledge, 2006)
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ItemThe Frenzy of the Visible in Comic Book WorldsNdalianis, A (SAGE PUBLICATIONS INC, 2009-11)This article argues that the comic book form is anything but static. The panels that litter its pages are riddled with a dynamism and motion that presents its own unique articulation of time and space. Some of the narrative action represented within a comic book panel can ‘freeze’ time, but other panels — while remaining visually static as still images on a page — open up complex depictions of time and space that create modes of perception that are particular to comics. The comic represents the animated flux of time and space through stasis.
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ItemIntroduction: Chinese cinemas as new mediaLeung, HH-S ; Yue, A (Informa UK Limited, 2009-01)
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ItemQueer Asian Australian migration: creative film co-production and diasporic intimacy in The Home Song StoriesYue, A (ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD, 2008)