9 research outputs found
Intersubjectivity in the pregnant self: maternity from Simone de Beauvoir’s The Second Sex, through Agnès Varda’s L’Opéra Mouffe to contemporary feminist thought
No full textAnticipating Home: The Edge of Heaven as Melodrama
No full textBasingstokeDavid Gramling (2010) describes The Edge of Heaven’s form as ‘fugue-like’ (p. 357). This description is accurate and suggestive. It speaks immediately of parallels — parallel worlds, experiences, states of being. As its German title (Auf Der Anderen Seite) suggests in various ways, this is what The Edge of Heaven is all about. Partly, or in one version of parallelism and fugue-ness, the film is a series of calls and not-quite-matched responses. The opening scenes exemplify this and also introduce a number of The Edge of Heaven’s themes.div_MCaPApub3825pu
A Hint of Industrial Espionage in the Eye: Orientalism, Essayism, and the Politics of Memory in Chris Marker's Sans Soleil
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