Titlebook: Screening the Face; Paul Coates Book 2012 Palgrave Macmillan, a division of Macmillan Publishers Limited 2012 America.animals.Europe.exper

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書目名稱Screening the Face影響因子(影響力)




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PATHY

托運(yùn)

澄清

,Faces and ‘Faciality’,tly adding Eisenstein, Gilles Deleuze goes further, pronouncing face and close-up synonymous (‘there is no close-up . the face, the face is in itself close-up’ (Deleuze, 1986, pp. 87–8)), apparently happy to abolish form-content distinctions. Does this mean that, going further still, all close-ups d

泰然自若

不真

Masks and Metaphor: Doubles and Animals,c, or implicit and simply uncanny – questions the self’s self- presentation. If the same face can occupy two positions, logically speaking – except in a string theory multiverse – one suggests a mask. The self may fear lest its other, othered form be viewed as disclosing what lies within, and respon

建筑師

Invisibility, Medusa and the Mask,potentially evil by demonstrating its ownership by someone unwilling to be recognized. Its ability to create invisibility (as in New Caledonian reports of this effect (Napier, 1986, p. 16)) allies it to spiritual, not necessarily beneficent, forces. Indeed, ambivalence, due to unreadability, may cha

BRIEF

Autobiography

The Fate of Contemplation: Closeness and Distance,inpoint and control the transformation, suspecting the imminence of something – a doubling of personality – their eyes cannot quite believe. Its manifestation suggests a potential unity between the human face; the actor’s mask, with its contradictory moods; and the supernatural, with its capacity for shape-changing.

不能約

Dissonance and Synthesis: Persona, the Face, the Mask and the Thing,es oneself to be. Cinema would seem particularly apposite for investigating such matters, rendering Bergman’s work – despite the well-worn accusations of ‘literariness’ – well-placed to exploit a central element of the cinematic one may even dare to designate a ‘ specificity’.