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Aproximación neurocinemática al corte como articulador fílmico
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In: TDX (Tesis Doctorals en Xarxa) (2020)
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| 23 |
Aproximación neurocinemática al corte como articulador fílmico
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| 24 |
Negative content enhances stimulus-specific cerebral activity during free viewing of pictures, faces, and words
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| 25 |
Psycholinguistic Features of Representation of Emotions by the Concept of «Fear» ; Психолінгвістичні особливості репрезентації емоцій за допомогою концепту «страх»
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In: Problems of modern psychology; No. 48 (2020): Problems of modern psychology; 206-227 ; Проблеми сучасної психології; № 48 (2020): Проблеми сучасної психології; 206-227 ; 2663-6956 ; 2227-6246 ; 10.32626/2227-6246.2020-48 (2020)
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| 26 |
Cinematic equivalence in subtitling : a case study of the biographical drama Forever Enthralled
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| 27 |
From the perspective of the object in semiotics : Deleuze and Peirce
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| 28 |
"Ew, Ew, the Body!": Submerged Racialization in American 21st-Century Children's Animation
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| 29 |
A social constructionist approach to female entrepreneurs' media representation and experiences in Saudi Arabia
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| 30 |
Stranded, Isolated, Cloistered, and Confined: Women Queering Space in Twenty-First Century Italian Cinema
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Stranded, Isolated, Cloistered, and Confined: Women Queering Space in Twenty-First Century Italian Cinema ...
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| 32 |
‘I wouldn’t trust no words written down on no piece of paper’: Jim Jarmusch’s Dead Man, Jacques Derrida and the critique of logocentrism
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Abstract:
In this article, I propose a reading of Jim Jarmusch’s Dead Man (1995) in light of Jacques Derrida’s observations on the axiological binary opposition of speech and writing. I argue that the relationship between the two is artistically explored in the opening scene where the accountant William Blake (Johnny Depp) meets the fireman (Crispin Glover) on the train to the town of Machine. I interpret Depp’s protagonist as the representative of writing and Glover’s fireman as the representative of speech. Demonstrating how the attributes that, through the long history of Western metaphysics, have been ascribed to writing are manifested by the main character of the film, I analyse a subtle personification of the written word on screen. I contend that Dead Man is a deconstructive text not only because it deconstructs the genre of the Western and the narrative of the West but also in the sense that it offers a critique of logocentrism and Western metaphysics.
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Keyword:
B Philosophy (General); NX Arts in general; P Philology. Linguistics; PN1993 Motion Pictures
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URL: https://jomec.cardiffuniversitypress.org/articles/abstract/10.18573/jomec.184/
http://orca.cf.ac.uk/119843/
http://orca.cf.ac.uk/119843/1/ee%20Evelina.pdf
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| 34 |
'English, motherfucker, do you speak it?': Pulp Fiction and the future of film-philosophy
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| 36 |
Von Hiroshima bis Panmunjeom - Medienbilder und die soziale Problemkonstruktion von Atomwaffen
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| 37 |
Subtitle assessment at SBS TV Australia : application of the FAR model
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Han, Jing (R13238). - : Sweden, Stockholm University, 2019
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| 38 |
Constraints and challenges in subtitling Chinese films into English
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Han, Jing (R13238). - : China, Foreign Language Teaching and Research Press, 2019
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| 39 |
Describing Pictures in Improving the Students’ Ability in Writing
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In: ELT Worldwide: Journal of English Language Teaching, Vol 6, Iss 1, Pp 83-92 (2019) (2019)
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| 40 |
L'agir documentaire, une politique du détail. À partir du cas de #SoyonsHumains
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In: Communication & langages, N 199, 1, 2019-05-02, pp.91-113 (2019)
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