Examines how New Mexico, situated within the boundaries of the United States, became a stand-in for the exotic non-western world that tourists, artists, scientists, and others sought to possess at the dawn of early filmmaking, a disposition stretching from the silent era to today as filmmakers screen their fantasies of what they wished the Southwest Borderlands to be.
Examines how New Mexico, situated within the boundaries of the United States, became a stand-in for the exotic non-western world that tourists, artists, scientists, and others sought to possess at the dawn of early filmmaking, a disposition stretching from the silent era to today as filmmakers screen their fantasies of what they wished the Southwest Borderlands to be.
Preface and Acknowledgments 1. Borderlands Cinema and the Proxemics of Hidden and Manifest Film Encounters 2. Ill Will Hunting (Penitentes) 3. A Life Halfway around the World 4. Lives and Faces Plying through Exotica 5. Red Sky at Morning, a Borderlands Interlude 6. The King Tiger Awakens the Sleeping Giant of the Southwest 7. Filming Bernalillo: Post-Civil Rights Chicano Film Subjects 8. Toward a New Proxemics: Historical, Mythopoetic, and Autoethnographic Works Conclusion Notes Bibliography Index
Preface and Acknowledgments 1. Borderlands Cinema and the Proxemics of Hidden and Manifest Film Encounters 2. Ill Will Hunting (Penitentes) 3. A Life Halfway around the World 4. Lives and Faces Plying through Exotica 5. Red Sky at Morning, a Borderlands Interlude 6. The King Tiger Awakens the Sleeping Giant of the Southwest 7. Filming Bernalillo: Post-Civil Rights Chicano Film Subjects 8. Toward a New Proxemics: Historical, Mythopoetic, and Autoethnographic Works Conclusion Notes Bibliography Index
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