The question that arises, of course, is this: does the difference say more about the cities themselves, or about the individual aesthetics of the film-maker? Is Paris, in fact, a more leisurely city than Berlin?
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Berlin also shares a structural similarity with Movie Camera, in that both films are ostensibly day-in-the-life portraits, traversing the time from dusk to dawn, and showing citizens at work and at play. In contrast to the movement with which Berlin and Paris begin, Movie Camera opens in an empty cinema in which a film within the film will soon play.
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The cinema opening provides a reflexive framework to which director Dziga Vertov and his unsung wife and editor, Yelizaveta Svilova, will return throughout at one point we even see Svilova editing the film we are watching. Berlin is likewise inventive in form, perhaps no surprise given that its director, Walter Ruttmann, had a background not in documentaries but in the German avant garde.
It is the two main aspects of the city symphony — the historical importance and the playfulness of form — that make them so fresh and appealing, even after all these years. It is also these two elements that I will be attempting to capture in my own silent city symphony, London Symphony, which is currently crowdfunding.
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Users without a subscription are not able to see the full content. The City and the Stage: Performance, Genre, and Gender in Plato's Laws Marcus Folch Abstract Drawing on anthropology, speech act theory, and gender studies, the book offers an exploration of the dialogue between philosophy and poetic art, which will be of interest to anyone concerned with understanding ancient Greek performance and the emergence of philosophical discourse in fourth-century Athens. Authors Affiliations are at time of print publication.
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View: no detail some detail full detail. The last level at which symphonia operates is between the text of the Laws and the city it imagines. The last key word is pantodapos manifold. It characterizes the type of musical society that Plato imagines—a type combining elements of different performance traditions including Doric, Panhellenic, and Panmediterranean.
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Similarly, femaleness is conceptualized in the Laws as a deliberate rejection of other Thracian, Athenian, Spartan models and as a manifold assortment of male virtues and revised poetic models. Ultimately, this manifold quality works at the level of the text: the Laws constitutes a hybrid of the various poetic traditions it discusses, while offering, Folch argues, a model for its own interpretation and aesthetic reception. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.