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Moving image installation, the embodied spectator of cinema and Amar Kanwar : learning from intermediality 运动影像装置、电影的具身观众与阿玛尔·坎瓦尔:从中间性中学习
New Cinemas Pub Date : 2015-01-01 DOI: 10.1386/NCIN.12.3.225_1
A. Rutherford
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引用次数: 3
Lutz Koepnick, On Slowness: Toward an Aesthetic of the Contemporary (New York: Columbia University Press, 2014) 卢茨·科普尼克:《论缓慢:走向当代美学》(纽约:哥伦比亚大学出版社，2014年)
New Cinemas Pub Date : 2015-01-01 DOI: 10.1386/ncin.13.1.91_5
D. Mourenza
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引用次数: 0
Personal images, collective journeys: Media and memory in I Travel Because I Have to, I Come Back Because I Love You 个人影像，集体旅程:《我旅行是因为我必须旅行，我回来是因为我爱你》中的媒介与记忆
New Cinemas Pub Date : 2014-06-01 DOI: 10.1386/NCIN.12.1-2.17_1
T. Luca
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引用次数: 2
Crisis and Creativity: The New Cinemas of Portugal, Greece and Spain 危机与创意:葡萄牙、希腊和西班牙的新电影
New Cinemas Pub Date : 2014-06-01 DOI: 10.1386/NCIN.12.1-2.133_1
Olga Kourelou, Mariana Liz, Belén Vidal
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引用次数: 26
The soul gets typecast: The reincarnation film in popular Hindi cinema 灵魂被定型:印度流行电影中的轮回电影
New Cinemas Pub Date : 2014-06-01 DOI: 10.1386/NCIN.12.1-2.113_1
Neelam Sidhar Wright
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引用次数: 1
A Real Human Being and a Real Hero : stylistic excess, dead time and intensified continuity in Nicolas Winding Refn’s Drive 一个真正的人与一个真正的英雄:尼古拉斯·温宁·雷芬的《开车》中过度的风格、死时间和强化的连续性
New Cinemas Pub Date : 2014-06-01 DOI: 10.1386/NCIN.12.1-2.43_1
M. Kiss, Anna Backman Rogers
{"title":"A Real Human Being and a Real Hero : stylistic excess, dead time and intensified continuity in Nicolas Winding Refn’s Drive","authors":"M. Kiss, Anna Backman Rogers","doi":"10.1386/NCIN.12.1-2.43_1","DOIUrl":"https://doi.org/10.1386/NCIN.12.1-2.43_1","url":null,"abstract":"This article sets forth that Nicolas Winding Refn’s Drive (2011) exhibits a ‘complex transformation’ of an American film genre by foregrounding features associated with art cinema and, more specifically, European and auteur film-making. We argue that the film’s appeal derives precisely from an intelligent and cine-literate deployment of the tensions in this dichotomy of European/American film-making. As such, Drive is a film that foregrounds or reveals its own construction in a number of ways, but its appeal lies in the fact that it does not prevent intense emotional engagement on the part of the viewer. It is neither a cold exercise in mere style nor a simple copy of an earlier formula, but rather a film that manages to marry a number of narrative and stylistic features in such a way that the film itself, arguably, is not easy to categorize.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"12 1","pages":"43-57"},"PeriodicalIF":0.0,"publicationDate":"2014-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/NCIN.12.1-2.43_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
The long smouldering night: Sex, songs and the desi feminist noir 漫长的阴燃之夜:性、歌曲和欲望女性主义黑色小说
New Cinemas Pub Date : 2014-06-01 DOI: 10.1386/NCIN.12.1-2.97_1
Krupa Shandilya
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引用次数: 0
Spanish Cinema 1973 – 2010: Auteurism, politics, landscape and memory 西班牙电影1973 - 2010:导演主义、政治、风景和记忆
New Cinemas Pub Date : 2014-01-01 DOI: 10.5860/choice.51-2563
Shelagh M. Rowan-Legg
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引用次数: 1
Masculinity in crisis? – What a Man (2011) and the German ‘relationship comedy’ 危机中的男子气概?——《男人是什么样》(2011)和德国的“关系喜剧”
New Cinemas Pub Date : 2014-01-01 DOI: 10.1386/ncin.12.1-2.79_1
Verena von Eicken
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引用次数: 0
How to keep our memories safe: ‘Changing platforms of ritualized memory practices. The cultural dynamics of home movies’ project, 2012–2015 如何保证我们的记忆安全:改变仪式化记忆练习的平台。家庭电影项目的文化动态，2012-2015
New Cinemas Pub Date : 2013-09-01 DOI: 10.1386/NCIN.11.2-3.183_7
Susanna Aasman
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引用次数: 0
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