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This book distinguishes itself from earlier books on David Lynch by taking in-depth consideration of his entire oeuvre. Besides his films and the Twin Peaks series, David Lynch: Blurred Boundaries includes discussions of Lynch’s paintings and drawings, music videos, commercials, short experimental works, digital projects on the YouTube channel David Lynch Theater and the Internet documentary The Interview Project, as well as the exhibition The Air is on Fire, which Jerslev regards as one of Lynch’s main works. David Lynch: Blurred Boundaries offers a view of Lynch’s total work, in which one…mehr
This book distinguishes itself from earlier books on David Lynch by taking in-depth consideration of his entire oeuvre. Besides his films and the Twin Peaks series, David Lynch: Blurred Boundaries includes discussions of Lynch’s paintings and drawings, music videos, commercials, short experimental works, digital projects on the YouTube channel David Lynch Theater and the Internet documentary The Interview Project, as well as the exhibition The Air is on Fire, which Jerslev regards as one of Lynch’s main works. David Lynch: Blurred Boundaries offers a view of Lynch’s total work, in which one medium or genre is no more important than the other. It discusses the ways in which Lynch has worked throughout his career with different art forms and has right from the start experimented with the blurring of boundaries between media and genres. And it discusses ways Lynch creates atmospheres by different audio-visual and visual means.
Anne Jerslev is Professor Film and Media Studies at the Department of Communication, University of Copenhagen. She is author of a number of publications on Lynch in both English, German and Danish. Jerslev is co-editor of Impure Cinema. Intermedial and Intercultural Approaches to Film. London, I.B. Tauris, 2014.
Inhaltsangabe
1. Introduction.- 2. David Lynch and the digital.- 3. David Lynch and visual noise.- 4.David Lynch and fear: the uncanny and the sublime.- 5. David Lynch and time: textures of ageing.- 6. David Lynch and the fragment – how not to tell a story.- 7. Conclusion: the precarious and the powerful.
1. Introduction.- 2. David Lynch and the digital.- 3. David Lynch and visual noise.- 4.David Lynch and fear: the uncanny and the sublime.- 5. David Lynch and time: textures of ageing.- 6. David Lynch and the fragment - how not to tell a story.- 7. Conclusion: the precarious and the powerful.
1. Introduction.- 2. David Lynch and the digital.- 3. David Lynch and visual noise.- 4.David Lynch and fear: the uncanny and the sublime.- 5. David Lynch and time: textures of ageing.- 6. David Lynch and the fragment – how not to tell a story.- 7. Conclusion: the precarious and the powerful.
1. Introduction.- 2. David Lynch and the digital.- 3. David Lynch and visual noise.- 4.David Lynch and fear: the uncanny and the sublime.- 5. David Lynch and time: textures of ageing.- 6. David Lynch and the fragment - how not to tell a story.- 7. Conclusion: the precarious and the powerful.
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