Published 2020-10-01
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This contribution examines how and why a cluster of films from every period or genre in the history of cinema and exhibiting blind or deaf characters, or both — such as The Wheel (Abel Gance, 1923), The Miracle Worker (
Arthur Penn, 1962), Land of Silence and Darkness (Werner Herzog, 1971), Earth of the Blind (Audrius Stonys, 1992), The Silence (Mohsen Makhmalbaf, 1998) and Mademoiselle Paradis (Barbara Albert, 2017) — demonstrates a consistent paradigm linking the sensory deprived, the dream work or ‘film work’ (Thierry Kuntzel) and a high frequency of hands and eyes. …”
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