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Books Books 21 - 29 of 29 on The first blow against the monolithic accumulation of traditional film conventions....
" The first blow against the monolithic accumulation of traditional film conventions (already undertaken by radical filmmakers) is to free the look of the camera into its materiality in time and space and the look of the audience into dialectics, passionate... "
Women Film Directors: An International Bio-critical Dictionary - Page xx
by Gwendolyn Audrey Foster - 1995 - 443 pages
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Film Theory: Critical Concepts in Media and Cultural Studies

Philip Simpson, Andrew Utterson, Karen J. Shepherdson - Cinematography - 2004 - 416 pages
...monolithic accumulation of traditional film conventions (already undertaken by radical film-makers) is to free the look of the camera into its materiality in...space and the look of the audience into dialectics, passionate detachment. There is no doubt that this destroys the satisfaction, pleasure and privilege...
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The Audience Studies Reader

Will Brooker - Language Arts & Disciplines - 2003 - 347 pages
...monolithic accumulation of traditional film conventions (already undertaken by radical film-makers) is to free the look of the camera into its materiality in...space and the look of the audience into dialectics, passionate detachment. There is no doubt that this destroys the satisfaction, pleasure and privilege...
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The Montage Principle: Eisenstein in New Cultural and Critical Contexts

Jean Antoine-Dunne, Paula Quigley - Literary Collections - 2004 - 220 pages
...anti-naturalist, anti-linear cinematic form. This is a cinema which, according to Laura Mulvey, aims 'to free the look of the camera into its materiality in...space, and the look of the audience into dialectics, passionate detachment' (Mulvey, I975:I8). In a manner similar to the Soviet filmmakers and photomontage...
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Feminist Film Studies: Writing the Woman Into Cinema

Janet McCabe, Janet Elizabeth McCabe, Terri Murray - Performing Arts - 2004 - 136 pages
...aesthetic. One that destroys the conventional relay of looks involved in producing visual pleasures, 'to free the look of the camera into its materiality in...space and the look of the audience into dialectics and passionate detachment' (1975: 18). It is imperative to place the 'Visual Pleasure' thesis within...
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Amending the Abject Body: Aesthetic Makeovers in Medicine and Culture

Deborah Caslav Covino - Medical - 2004 - 152 pages
...into their looks at one another. Alternative, radical filmmakers, Mulvey proposes, begin by "free[ing] the look of the camera into its materiality in time...space and the look of the audience into dialectics and passionate detachment," so that the "pleasure and privilege . . . [of being] the 'invisible guest'"...
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Theater and Film: A Comparative Anthology

Performing Arts
...fact, Mulvey's proposed "first blow" against the oppressive conventions of narrative cinema is "to free the look of the camera into its materiality in...space and the look of the audience into dialectics, passionate detachment" (33). In her consideration of the cinematic apparatus, Mulvey advocates for...
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Sex Objects: Art and the Dialectics of Desire

Jennifer Doyle - Social Science - 2006 - 184 pages
...monolithic accumulation of traditional film conventions (already undertaken by radical film-makers) is to free the look of the camera into its materiality in...space and the look of the audience into dialectics and passionate detachment. There is no doubt that this destroys the satisfaction, pleasure, and privilege...
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Images: A Reader

Sunil Manghani, Arthur Piper, Jon Simons - Social Science - 2006 - 352 pages
...monolithic accumulation of traditional film conventions (already undertaken by radical film-makers) is to free the look of the camera into its materiality in...space and the look of the audience into dialectics and passionate detachment. There is no doubt that this destroys the satisfaction, pleasure and privilege...
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Figures of Resistance: Essays in Feminist Theory

Teresa de Lauretis - Performing Arts - 2010 - 320 pages
...monolithic accumulation of traditional film conventions (already undertaken by radical filmmakers) is to free the look of the camera into its materiality in...space and the look of the audience into dialectics, passionate detachment. 3 But much as Mulvey and other avant-garde filmmakers insisted that women's...
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