african-Canadian writer and Professor at the University of toronto, George elliott Clarke is a poet, novelist, playwright, librettist, and critic. "A noir 'peau rouge, '" as he defines himself in the introduction to the book Red, Clarke is Africadian 1 with roots in the Mi'kma'ki culture of Nova scotia. ten years after the publication of Odysseys Home: Mapping African-Canadian Literature, this new critical collection continues to defend the argument that african-Canadian (or Black Canadian) literature cannot be read adequately without considering "the historical (or 'indigenous') african-Canadian
he advent of digital technologies unquestionably afected cinema. he indexical relation and realistic efect with the photographed world much praised by André Bazin (2005) and Roland Barthes (1986) is just one of the afected aspects. his article discusses cinema in light of the new digital possibilities, relecting on Steven Shaviro's consideration of "how a nonindexical realism might be possible" (Postcinematic 63) and how in fact a new kind of reality, a digital one, might emerge in the science iction ilm Source Code (2013) by Duncan Jones.
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MOUSINHO, Luiz Antonio. A Sombra que me Move: ensaios sobre ficção e produção de sentido (cinema, literatura, tv). João Pessoa: Ideia/Editora Universitária, 20012.
This paper analyzes the film Donnie Darko (2001) by director and screenwriter Richard Kelly through the theoretical perspective of Mikhail Bakhtin’s (1981) chronotope. The latter defines it as an intermingling between temporal and spatial relations, artistically assimilated in literature (BAKHTIN, 1981), but in this study it is applied to film studies. Gilles Deleuze’s (1986, 1989) concepts of movement-image and time-image also contribute to the analysis. The film presents sequences of chronotope disruption, which are associated to the main’s characters mental state. Film techniques as parallelism, superimposition and ellipsis contribute to this break in the time and space association. Lastly, the analysis discusses Garret Stewart’s (2007) proposal that the digital cinema contributes to a disruptive cinematography, especially in relation to time-space constructions.
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