New PDF release: Black Friday (Movie Monsters Series)

By Carl R. Green, William R. Sanford, Howard Schroeder

ISBN-10: 0896862585

ISBN-13: 9780896862586

A mad medical professional replaces a part of his friend's broken mind with the mind of a felony and unleashes a sequence of violent occasions.

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Externalisation of the ‘work of art’ is unnecessary – a perverse conclusion. In chapter 1, a consideration of representation led almost inevitably to the question of expression and expressiveness in art. In seeing a representation, we may also ‘see’ the feeling in it, so to speak. To take a classic example, we can say of a particular painting of a landscape that it is a sad landscape (as we can of a real landscape). Or we might say of a film that it is an angry film. In other words, in ordinary language we commonly assign a mental or psychological property to what is a material object or event – a painting, film, novel.

59 It is like recording an event (filming an opera, say) which is the comings and goings on an underground station platform over a period of time from a particular vantage point or points (the camera may automatically move in, say, vertical and horizontal pans). The concept under strain in this discussion of film is intentionality. Wollheim states that seeing-in precedes representation and does not necessarily involve intentionality. We can see a face in the clouds or a horse in the stains on a wall.

A lyricism pervades the film, although not without anger, melancholy and desolation also present. Identification and expression One of the problems of many psychoanalytical approaches has been an obsession with identification of the spectator with the character through the techniques of shot-reverse-shot, eyeline matching, and so forth. This rigid and simplistic rendering of the highly complex business of experiencing a film as a spectator has led to schematic ‘readings’ of films, or, more perniciously, the wholesale neglect of films which do not use mainstream narrative techniques and approaches,18 for example, art cinema and the work of the film avant-garde which are very often not rigidly ‘identificatory’ (for that matter, neither are some Hollywood films).

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Black Friday (Movie Monsters Series) by Carl R. Green, William R. Sanford, Howard Schroeder

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