 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 Dictionaryby Gwendolyn A. Foster - 1995 - 443 pagesNo preview available - About this book
 | Robyn R. Warhol, Diane Price Herndl - Literary Criticism - 1997 - 1238 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... | |
 | Dennis L. Dworkin - History - 1997 - 340 pages
...this process took place was the precondition for overturning it. Its transformation involved freeing "the look of the camera into its materiality in time...space and the look of the audience into dialectics, passionate detachment."6" Mulvey would attempt this transformation in a series of films in collaboration... | |
 | Lizbeth Goodman, Jane De Gay - Feminism and theater - 1998 - 364 pages
...(already undertaken bv radical film-makers) is to free the look of the camera into its materialitv in time and space and the look of the audience into dialectics, passionate detachment. There is no doubt that this destroys the satisfaction, pleasure and privilege... | |
 | Diane Waldman, Janet Walker - Social Science - 1999 - 380 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... | |
 | Colin Counsell, Laurie Wolf - Art - 2001 - 268 pages
...concepts: The first blow against the monolithic accumulation of traditional film conventions ... is to free the look of the camera into its materiality in...space and the look of the audience into dialectics, passionate detachment.3 Demystifying representation, showing how and when the object of pleasure is... | |
 | John Orr, Olga Taxidou - Performing Arts - 2001 - 468 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." Drawing most frequently on the theories of Bertolt Brecht but giving them a... | |
 | Alison Butler - Education - 2002 - 152 pages
...polemic against mainstream narrative film by advocating the creation of 'a new language of desire' to 'free the look of the camera into its materiality...space and the look of the audience into dialectics, passionate detachment' (1975: 8). Women, she argues, should view the decline of traditional film form... | |
 | Philip Auslander - Performing Arts - 2003 - 448 pages
...The first blow against the monolithic accumulation of traditional film conventions [ . . . ] is to free the look of the camera into its materiality in...space and the look of the audience into dialectics, passionate detachment. (1975: 18) Demystifying representation, showing how and when the object of pleasure... | |
 | Philip Simpson, Andrew Utterson, Karen J. Shepherdson - Art - 2004 - 424 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... | |
 | Will Brooker, Deborah Jermyn - Language Arts & Disciplines - 2003 - 368 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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