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Face value : curated experiences for geographically separated romantic relationships
Published 2016Get full text
Final Year Project (FYP) -
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Who Lives, Who Dies, Who Sings Which Story?: Narrative Production and Race in the Curriculum of Film Musicals
Published 2022-11-01“…This critical film analysis of three film musicals, using the theoretical framework of history production, reveals themes of historical morality, romantic relationship and race, and implicit/explicit racial messaging. …”
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The objectification of women in 'Lars and the Real Girl' and 'her'
Published 2015Get full text
Final Year Project (FYP) -
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What Language Does the French “Musical Comedy” Speak? On Some Stylistic Experiments of the Legrand — Demy Tandem
Published 2023-03-01Subjects: “…french film music…”
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“Viimne reliikvia” ja “Kolme katku vahel”: ruumist eesti ajalookirjanduse ekraniseeringutes / The Last Relic and Between Three Plagues: On Space in Film Adaptations of Estonian His...
Published 2015-06-01“…Still, the avoidance of the romanticism and the lack of domineering popular music instantly locates this film outside the repressive desire-creating machine and the illusions that (re)produce wishful reality. …”
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“That’s How You Know He’s Your Love”
Published 2023-03-01“… While romantic love is a central topic in most Disney films, love duets sung by the featured couple are relatively rare and solo songs sung by the male protagonist even rarer. …”
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The Audible Life of the Image
Published 2010-01-01“…In the context of that film it is difficult to determine both what that music is and who we are, although this discussion will try to advance a hypothesis in that regard. …”
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ARCHITECTONICS OF THE SILENCE IN VERCORS’ NOVEL “THE SILENCE OF THE SEA”
Published 2022-12-01“…It was separately considered how the film brings to the “surface” of the text Werner von Ebrennack’s fate motif, implicitly rooted in the story, as an individual embodiment of the fate of German romanticism – from Hegel and the sublime national-cultural mythology of the romantics to Nietzsche and Wagner, and later – German Expressionist cinema – and the death of romanticism, distorted and destroyed by Nazism, in the logic of the “death of the gods.” …”
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