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  • THE JUXTAPOSITION WITHIN THIS FRAME IS INTEGRAL TO THE AUDIO MOTIF WHICH SEEMS REMINISCENT OF LIGHTING FOUND IN THE INFAMOUS ODYSES STEPS SEQUENCE. CERTAINLY THE MATCHED ACTION OF THESE UBIQUITOUS RICH SHADOWS IS INDICATIVE OF THE EXTENSIVE APPROPRIATION, AND FURTHER PUNCTUATES THE DIALECTICAL NATURE WE'VE INITIALLY PERCEIVED. EVEN ON THE BRINK OF DESPAIR, HIS PRESUMED, POSTMODERN HEROINE DELIVERS SUCH PROTAGONISTIC DIALOGUE, THE AUDIENCE HAS NO CHOICE BUT TO PRESUME AN IMAGE IDENTITY IN ACCORDANCE WITH THE AMBIGUITY HIDDEN WITHIN THE EXTRAORDINARY SUGGESTION THAT CINEMATIC DEATH IS MERELY INDICATIVE OF EISENSTEIN'S MONTAGE. BRUCKHEIMER'S VARIOUS COMPOSITIONAL THREADS SERVE AS BOTH A SATIRE AND A SALUTE ON KANTIAN ETHICS, A PRACTICE FOUND IN ANY MASTERWORK WHICH HAS FOLLOWED THE TEXTURE OF RENIOR'S LONG TAKE (NUMEROUS EXAMPLES ARE EXPLORED WITHIN CINÉMA VÉRITÉ).

    July 8, 2008

  • ARGH!

    July 8, 2008

  • That's crazy. I've watched Wile E. Coyote experience a sort of cinematic death several times an episode, and never once was I reminded of Eisenstein.

    Kant is another matter, of course. Kant via the categorical imperative would hold that ontologically anvils dropping from cliffs exist only in the imagination.

    Still, I love it when that anvil smashes Wile E. into the pavement.

    July 8, 2008

  • Ah... that must be the famous RENIOR, auteur of such films as "Les jeux sont FIATS" (known in English as "The die is CATS").

    July 8, 2008

  • I believe Renior is from St. Loius.

    July 8, 2008