>To move beyond this sorry position (which also crops up from
>time to time on this list) all that is needed is to see how the critic's
>BR>
>functions (and certain theoretical positions) are embedded in structures of
>power and authority which are contested in certain ways in the films
>themselves. And to pursue this will eventually lead almost anyone to a
>re-evaluation of cinema and its history - and of assumptions about the
>dominant examples which, as some correspondents have been observing, >tend
>to BR>
>monopolise this list. BR>
<BR
<BR
the (virtual") character you kindly portray here to the list as in a
watermark, is he-she asking ink-question(s) to his-her consciousness?
the pursuance he-her puts in his-her efforts towards the denounciation of
the power he-she is facing , will it bring him-her, to the questions raised
by a mass-transevaluation, or to a more frugal one? when one has not
denounced moucho, but has examined his-her consciousness, and it's wayz to
re-evaluate.
,BR<\script\
FilRi. HOUTMAN
<BR\ img source= http://, fanna.
this divisde between critical cinema and pursuer character, in it or ouside
of it, explores all the division from, or after, of the sad conclusions, the
ticking clock devices most scenarists know, can bring forward orr backward,
-- put to the consciousness historic.. (?-°)
i am stuck, someone helpsme with this idea.. <BR\ .?please!!
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