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《Byzantine and Modern Greek Studies》2013,37(1):157-168
AbstractAlexis Zorbas unwittingly displays a knowledge of the cinema when he says to the Boss, <inline-graphic href="splitsection8_in1.tif"/><inline-graphic href="splitsection8_in2.tif"/><inline-graphic href="splitsection8_in3.tif"/>. [‘Anything we couldn't say with our mouths we said with our feet, our hands, our belly or with wild cries'.] Kazantzakis himself once said the same thing in a different way: ‘To succeed in transforming the abstract concepts into simple, clear images is my great aspiration’. These words – written to his future wife Eleni Samios and referring to the cinema's influence on The Odyssey – are the starting point for the rest of Kazantzakis' more complex theories on film, the distillation of the lessons he learned from motion pictures and later applied to his writing. But before continuing, we can create a helpful context for the author's concern with film by supplying some historical background. 相似文献
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Stephen Bann 《History and theory》2002,41(4):124-133
Book reviewed in this article:
Philip Rosen, Change Mummified: Cinema, Historicity, Theory 相似文献
Philip Rosen, Change Mummified: Cinema, Historicity, Theory 相似文献
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