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Saving Cinderella: What Feminists Get Wrong Abo...
9,95 € *
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It’s time to save Cinderella! Ready for a radical statement? Disney princesses aren’t anti-feminist. Until the 1990s, Disney princesses were role models for little girls, teaching them how to grow up into strong, centered, moral women. But then something terrible happened. A vocal minority of viewers and film critics (let’s call them “princess critics”) got hold of the narrative. They called Disney princesses “drips”, said they were “boring”, and boiled their dreams down to “husband hunting”. And Disney listened, churning out princesses who were virtue-signaling, man-hating puppets shouting the ideas of the princess critics. But the princess critics were wrong.  Each chapter in this book covers one of the eleven “official” Disney princesses (plus Elsa and Anna from Frozen, who aren’t yet “official”). In chronological order, the book will explore the themes, tropes, and symbolism of these movies, and the ways in which the princess critics have influenced our perceptions of them. And then it will prove the princess critics wrong.Saving Cinderella rescues the Disney princess narrative from the princess critics, giving Disney fans everywhere the validation they need to proudly love the princesses they’ve always admired in secret. 1. Language: English. Narrator: Faith Moore. Audio sample: http://samples.audible.de/bk/acx0/153270/bk_acx0_153270_sample.mp3. Digital audiobook in aax.

Anbieter: Audible
Stand: 19.09.2020
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Spiritual Sensations (eBook, ePUB)
67,25 € *
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The secular, pluralist culture of the West encourages a subjective approach to spiritual truth where stimulating emotional experiences, such as those provided by film, can contribute to personal conceptions of the sacred. Examining Stanley Kubrick's 2001: A Space Odyssey (1968) as the principal case-study and Gaspar Noé's Enter the Void (2009) and Lars von Trier's Melancholia (2011) as comparative examples, Sarah Balstrup argues that these directors harness the affective properties of film to generate altered states of perception in a manner analogous to religious practice.Powerful feelings of dissociation and indescribable significance typical of mystical testimony appear in viewer responses to these films, demonstrating the continued sacralisation of such states of mind. In their own way, each film confronts the viewer with an apocalyptic revelation of the impersonal forces of the universe, moving away from personhood and the human narrative, into pure sensation. They present a non-deterministic spiritual truth that can be intuited but not explained, mirroring developments in the religious sphere.Investigating the relationship between cinematic technique and religious experience, Spiritual Sensations offers an alternative approach to the study of religion and film that has been principally focused on narrative symbolism and the dramatisation of values. Spiritual Sensations makes a further contribution to the field by analysing films contextually, considering viewers' subjective responses in light of religious and cultural change.

Anbieter: buecher
Stand: 19.09.2020
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Spiritual Sensations (eBook, PDF)
67,25 € *
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The secular, pluralist culture of the West encourages a subjective approach to spiritual truth where stimulating emotional experiences, such as those provided by film, can contribute to personal conceptions of the sacred. Examining Stanley Kubrick's 2001: A Space Odyssey (1968) as the principal case-study and Gaspar Noé's Enter the Void (2009) and Lars von Trier's Melancholia (2011) as comparative examples, Sarah Balstrup argues that these directors harness the affective properties of film to generate altered states of perception in a manner analogous to religious practice.Powerful feelings of dissociation and indescribable significance typical of mystical testimony appear in viewer responses to these films, demonstrating the continued sacralisation of such states of mind. In their own way, each film confronts the viewer with an apocalyptic revelation of the impersonal forces of the universe, moving away from personhood and the human narrative, into pure sensation. They present a non-deterministic spiritual truth that can be intuited but not explained, mirroring developments in the religious sphere.Investigating the relationship between cinematic technique and religious experience, Spiritual Sensations offers an alternative approach to the study of religion and film that has been principally focused on narrative symbolism and the dramatisation of values. Spiritual Sensations makes a further contribution to the field by analysing films contextually, considering viewers' subjective responses in light of religious and cultural change.

Anbieter: buecher
Stand: 19.09.2020
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Spiritual Sensations (eBook, ePUB)
67,25 € *
ggf. zzgl. Versand

The secular, pluralist culture of the West encourages a subjective approach to spiritual truth where stimulating emotional experiences, such as those provided by film, can contribute to personal conceptions of the sacred. Examining Stanley Kubrick's 2001: A Space Odyssey (1968) as the principal case-study and Gaspar Noé's Enter the Void (2009) and Lars von Trier's Melancholia (2011) as comparative examples, Sarah Balstrup argues that these directors harness the affective properties of film to generate altered states of perception in a manner analogous to religious practice.Powerful feelings of dissociation and indescribable significance typical of mystical testimony appear in viewer responses to these films, demonstrating the continued sacralisation of such states of mind. In their own way, each film confronts the viewer with an apocalyptic revelation of the impersonal forces of the universe, moving away from personhood and the human narrative, into pure sensation. They present a non-deterministic spiritual truth that can be intuited but not explained, mirroring developments in the religious sphere.Investigating the relationship between cinematic technique and religious experience, Spiritual Sensations offers an alternative approach to the study of religion and film that has been principally focused on narrative symbolism and the dramatisation of values. Spiritual Sensations makes a further contribution to the field by analysing films contextually, considering viewers' subjective responses in light of religious and cultural change.

Anbieter: buecher
Stand: 19.09.2020
Zum Angebot
Spiritual Sensations (eBook, PDF)
67,25 € *
ggf. zzgl. Versand

The secular, pluralist culture of the West encourages a subjective approach to spiritual truth where stimulating emotional experiences, such as those provided by film, can contribute to personal conceptions of the sacred. Examining Stanley Kubrick's 2001: A Space Odyssey (1968) as the principal case-study and Gaspar Noé's Enter the Void (2009) and Lars von Trier's Melancholia (2011) as comparative examples, Sarah Balstrup argues that these directors harness the affective properties of film to generate altered states of perception in a manner analogous to religious practice.Powerful feelings of dissociation and indescribable significance typical of mystical testimony appear in viewer responses to these films, demonstrating the continued sacralisation of such states of mind. In their own way, each film confronts the viewer with an apocalyptic revelation of the impersonal forces of the universe, moving away from personhood and the human narrative, into pure sensation. They present a non-deterministic spiritual truth that can be intuited but not explained, mirroring developments in the religious sphere.Investigating the relationship between cinematic technique and religious experience, Spiritual Sensations offers an alternative approach to the study of religion and film that has been principally focused on narrative symbolism and the dramatisation of values. Spiritual Sensations makes a further contribution to the field by analysing films contextually, considering viewers' subjective responses in light of religious and cultural change.

Anbieter: buecher
Stand: 19.09.2020
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Crash , Hörbuch, Digital, 1, 816min
9,95 € *
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Formula One driver Remy Sabatino is leading the Drivers' Championship, in a car that is the quickest of the season by far. But that also means Sabatino's Russian teammate is the fastest too.... Their rivalry couldn't be more toxic ahead of the Grand Prix in Moscow. TV viewers around the world are about to witness the most catastrophic crash in Formula One history. Was this caused by the acrimony between these drivers? Matt Straker, former Royal Marine and corporate intelligence director, is again called in to investigate and he soon finds himself confronted by a corrupted legal system and battling with powerful - and violent - vested interests. Could it be that wrapped up in the political symbolism of the Moscow Grand Prix are, perhaps, the very seeds of its undoing.... DISCLAIMER: This is a work of fiction. All the characters and incidents portrayed and the names used herein are fictitious and any similarity to the names, characters, or history of any persons, living or dead, is entirely coincidental and unintentional. Even when recognisable names appear, their actions are fictitious. This audiobook is unofficial and is not associated in any way with the Formula One group of companies. F1, FORMULA ONE, FORMULA 1, FIA FORMULA ONE WORLD CHAMPIONSHIP, GRAND PRIX and related marks are trademarks of Formula One Licensing B.V. 1. Language: English. Narrator: Emma Fenney. Audio sample: http://samples.audible.de/bk/adbl/029873/bk_adbl_029873_sample.mp3. Digital audiobook in aax.

Anbieter: Audible
Stand: 19.09.2020
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Inlay Designs in the Mughal Monuments
59,00 € *
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Indian artisanship, one of the most creative and richest traditions in the world, blossomed rapidly during the reign of the Mughal dynasty (1526 to 1707 A.D.). The study focused on identification of inlay motifs, design functionality, origin and development of inlay art, factors responsible for inlay designs, aesthetic philosophy, and influence of other arts. In summary, the Mughal inlay art was developed indigenously and bloomed during the period of Jahangir. He had introduced a variety of motifs in inlay such as Hindu inlay designs swastikas, satkona, lotus and Chinese cloud band. Healthy fusion of traditions and cultural aspects of Persian, Hindu, Islamic and Chinese is also reflected in inlay designs. Artistic presentation of inlay designs with unity, harmony and colour symbolism evoked rasas and bhavas (i.e., adbhuta, veera, shringar, shanta, karuna and raudra rasas) which had left a long-lasting impression on the present world of designers, artisans and viewers.

Anbieter: Dodax
Stand: 19.09.2020
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Theory of Film Music
57,30 € *
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Theory of Film Music strives to explain how music functions in film, how it is perceived by viewers, and which meanings and values it represents in the dramaturgy of a film work. The book points out the scope of expressive potentials of music in film and arranges them in systems. It draws upon the knowledge of psychology of perception, acoustics, aesthetics of music and film, and it explains film music through concepts, and terms of semiotics. It is concerned with music in relation to film space and time, music's incorporation in film montage, and music's impressiveness in relation to the graphic nature of film pictures. It points out the expression and symbolism of individual historical and genre types of music. Trying to provide a more vivid account of the extent of theoretically outlined propositions, the book offers more than 200 examples of verbal description of certain moments in films ranging from the beginnings of the sound film up to the present. They also manifest typical creative tendencies in the history of film music. The book is supplemented with score excerpts, analyses, photographs, and registers.

Anbieter: Dodax
Stand: 19.09.2020
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A Coen-Kidnapping -  One Topic, Two Realizations
19,90 CHF *
zzgl. 3,50 CHF Versand

Seminar paper from the year 2005 in the subject American Studies - Literature, grade: 1,0, Dresden Technical University, course: HS Outstanding Film Directors, 7 entries in the bibliography, language: English, abstract: In this paper for the seminar 'Outstanding Film Directors' I want to analyze two movies by Joel and Ethan Coen, namely 'Fargo' (1996) and 'The Big Lebowski', its successor from the year 1998. After introducing the movies along with their characters, storylines, symbolism, and other relevant issues, I am planning on pointing out to what extend they are similar and typically 'Coen-esque', and how they differ. Special attention will be paid to the kidnapping-theme used in both movies, to the display of violence, and to the stylistic devices, especially to those that define the various genres (detective story, western, etc.) utilized by the directors. The way the Coens play with the expectations of their viewers and critics is also supposed to be a topic of this work. However, before I begin my paper, I would like to introduce the directors to the reader. Joel and Ethan Coen, often referred to as the Coen brothers or the 'two-headed director', were born in St. Louis Park, Minnesota in 1954 and 1957 respectively. While Joel is always credited as the director, Ethan only appears as the producer. In reality though, both of them write, direct, and produce their movies, and also do the cutting, which might be one reason for their aforementioned nickname. Moreover, this fact underlines the humongous influence they have on the resulting product, as all the crucial production steps are carried into execution by them. It also explains the perfectionism to which they attach great importance. As the Coens have a clear vision of their movie-to-be and thus work hard at the preproduction, they will never accept improvisation. Rumor has it that every 'yah' in Fargo was actually scripted (Kilzer, p. 167). It is common knowledge in the business that ad-lib performances are not something these two directors appreciate. Little is known about their private life because the Coen brothers set value on keeping it out of the public eye. But since they do not include self-depictions or references to their lives in their films, even though many critics suppose so, this fact will not prevent the subsequent discussion of the two named movies.

Anbieter: Orell Fuessli CH
Stand: 19.09.2020
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