Accesso libero

The Polaroid and the Cross. Media-Reflexivity and Allegorical Figurations in Lucian Pintilie’s The Oak (1992)

INFORMAZIONI SU QUESTO ARTICOLO

Cita

Bădică, Simina. 2012. Historicizing the Absence: The Missing Photographic Documents of Romanian Late Communism. Colloquia. Journal of Central European History vol. XIX: 40–62.Search in Google Scholar

Blos-Jáni, Melinda. 2013. Men with the Movie Camera between 1945 and 1989. Domesticating Moving Image Technology under Communism. Martor no. 18: 77–92.Search in Google Scholar

Buse, Peter. 2010. The Polaroid Image as Photo-Object. Journal of Visual Culture vol. 9. no. 2: 189–207.10.1177/1470412910372754Search in Google Scholar

Doane, Mary Ann. 2009. Scale and the Negotiation of ‘Real’ and ‘Unreal’ Space in the Cinema. In Realism and the Audiovisual Media, eds. Lúcia Nagib and Cecília Mello, 63–81. Basingstoke, Hampshire: Palgrave Macmillan.10.1057/9780230246973_5Search in Google Scholar

Caufman-Blumenfeld, Odette. 1998. The Oak: A Balancing Act from Page to Screen. Film/Literature Quarterly vol. 26. no. 4: 267–278.Search in Google Scholar

Foucault, Michel. 1986. Of Other Spaces. Diacritics vol. 16. no. 1: 22–27.10.2307/464648Search in Google Scholar

Gorzo, Andrei. 2013. Concerning the Local Precursors of the New Romanian Realism. Close Up. Film and Media Studies vol. 1. no.1: 4–12.Search in Google Scholar

Grosz, Elizabeth. 1994. Volatile Bodies. Toward a Corporeal Feminism. Bloomington and Indianapolis: Indiana University Press.Search in Google Scholar

Guibert, Hervé. 2014. Ghost Image. Chicago and London: The University of Chicago Press.10.7208/chicago/9780226132488.001.0001Search in Google Scholar

Kaplan, E. Ann and Ban Wang. 2004. Introduction. From Traumatic Paralysis to the Force Field of Modernity. In Trauma and Cinema. Cross Cultural Explorations, eds. Kaplan, E. Ann and Wang, Ban, 1–22. Hong Kong: Hong Kong University Press.Search in Google Scholar

Király, Hajnal. 2010. Könyv és film között. A hűségelven innen és túl. [Between Book and Film. Beyond the Fidelity Principle.] Kolozsvár: Koinónia.Search in Google Scholar

Király, Hajnal. 2015. Leave to Live? Placeless People in Contemporary Hungarian and Romanian Films of Return. Studies in Eastern European Cinema vol. 6. no. 2: 169–183.10.1080/2040350X.2015.1051822Search in Google Scholar

Király, Hajnal. 2016. Looking West: Understanding Socio-Political Allegories and Art References in Contemporary Romanian Cinema. Manuscript, forthcoming in Acta Universitatis Sapientiae: Film and Media Studies.10.1515/ausfm-2016-0004Search in Google Scholar

Kiss, Kata. 2011. Az identitásszörny, a szent mártír és az ellenálló. Férfi versus női prostituáltak a kortárs magyar filmben. [The Identity Monster, the Saintly Martyr, and the Resistant. Male versus Female Prostitutes in Contemporary Hungarian Cinema.] Metropolis no. 3: 42–54.Search in Google Scholar

Kovács, András Bálint. 2007. Screening Modernism: European Art Cinema, 1950–1980. Chicago and London: The University of Chicago Press.10.7208/chicago/9780226451664.001.0001Search in Google Scholar

Kristeva, Julia. 1989. Holbein’s Dead Christ. In Black Sun. Depression and Melancholia, 105–138. New York: Columbia University Press.Search in Google Scholar

Mitchell, W. J. Thomas. 2005. Addressing Media. In What Do Pictures Want? The Lives and Loves of Images, 201–221. Chicago and London: The University of Chicago Press.10.7208/chicago/9780226245904.001.0001Search in Google Scholar

Mulvey, Laura. 2006. Death Death 24x a Second. Stillness and the Moving Image. London: Reaktion Books.Search in Google Scholar

Nagib, Lúcia. 2014. Reflexive Stasis, Scale Reversal and the Myth of Modern Cinema. In Inert Cities: Globalization, Mobility and Suspension in Visual Culture, eds. Stephanie Hemelryk Donald and Christoph Lindner, 187–201. London: I. B. Tauris.10.5040/9780755694846.ch-0010Search in Google Scholar

Nasta, Dominique. 2013. Contemporary Romanian Cinema. The History of an Unexpected Miracle. London and New York: Wallflower Press – Columbia University Press.10.7312/columbia/9780231167451.001.0001Search in Google Scholar

Paech, Joachim. 2000. Artwork – Text – Medium. Steps en Route to Intermediality. http://www.uni-konstanz.de/FuF/Philo/LitWiss/MedienWiss/Texte/interm.html. Last accessed 15. 02. 2011.Search in Google Scholar

Pethő, Ágnes. 2011. The Passion for the In-Between. Cinema and Intermediality. Newcastle upon Tyne: Cambridge Scholars Publishing.Search in Google Scholar

Pethő, Ágnes. 2014. The Tableau Vivant as a “Figure of Return” in Contemporary East European Cinema. Acta Universitatis Sapientiae: Film and Media Studies vol. 9: 51–76.10.1515/ausfm-2015-0003Search in Google Scholar

Peucker, Brigitte. 2008. Tableau Vivant in Film: Intermediality and the Real. In Intermedialität – Analog/Digital. Theorien – Methoden Analysen, eds. Paech, Joachim and Jens Schröter, 291–300. München: Wilhelm Fink Verlag.10.30965/9783846743744_021Search in Google Scholar

Pop, Doru. 2014. Romanian New Wave Cinema. An Introduction. Jefferson: Mcfarland & Company, Inc. Publishers.Search in Google Scholar

Sándor, Katalin. 2016. Filming the Camera – Reflexivity and Reenactment in Lucian Pintilie’s Reconstruction (1969) and Niki and Flo (2003). Manuscript, forthcoming in The New Romanian Cinema, eds. Stojanova, Christina and Duma, Dana. Edinburgh University Press.Search in Google Scholar

Sobchack, Vivian. 2004. Carnal Thoughts. Embodiment and Moving Image Culture. Berkeley – Los Angeles – London: University of California Press.10.1525/9780520937826Search in Google Scholar

Xavier, Ismail. 2004. Historical Allegory. In A Companion to Film Theory, eds. Toby Miller and Robert Stam, 333–362. Oxford: Blackwell Publishing.10.1002/9780470998410.ch18Search in Google Scholar

eISSN:
2066-7779
Lingua:
Inglese
Frequenza di pubblicazione:
2 volte all'anno
Argomenti della rivista:
Library and Information Science, Book Studies, Media and Press