Add to ORKGMiller presents Corman as an "archivist of the vernacular" and stresses the theatrical dimensions revealed in the artist's appropriation of private snapshots and television imagery. 2 bibl. ref
Cosandey Roland. Donald Crafton, Emile Cohl, Caricature, and Film, 1990. In: 1895, revue d'histoire ...
The large-format portraits featured in the exhibition »Inwards and Onwards« testify to the substanti...
Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1984.MICROFICHE COP...
Miller presents Corman as an "archivist of the vernacular" and stresses the theatrical dimensions re...
Tousley analyses Corman's photographs, his use of found snapshot images, and his strategies of selec...
Noting various historical framing conventions, Gale describes Cohn's development of a non-verbal nar...
Installation of the exhibition, Norman Gorbaty: Works in Dialogue, January 27 - March 28, 2011http...
This chapter explores the ways Robert Altman's 1970s cinema manipulates, utilizes, deconstructs and ...
This substantial publication is essentially a retrospective in print form of the artist's video inve...
Michel Bernard. Louis Corman, Nietzsche psychologue des profondeurs. In: Revue Philosophique de Louv...
This short text is one of six commissioned commentaries commissioned by artist and art historian Ste...
Kunz relates how Wegman expresses his familiarity with the nuances of popular American culture throu...
All eight feature films (1965-1981) of John Boorman were viewed and analyzed according to Auteur The...
Mayor describes the relationship between artist, work and spectator while Ylitalo offers a history o...
Hanhardt delineates filmic devices used in Gehr's films such as the use of found footage, superimpos...
Cosandey Roland. Donald Crafton, Emile Cohl, Caricature, and Film, 1990. In: 1895, revue d'histoire ...
The large-format portraits featured in the exhibition »Inwards and Onwards« testify to the substanti...
Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1984.MICROFICHE COP...
Miller presents Corman as an "archivist of the vernacular" and stresses the theatrical dimensions re...
Tousley analyses Corman's photographs, his use of found snapshot images, and his strategies of selec...
Noting various historical framing conventions, Gale describes Cohn's development of a non-verbal nar...
Installation of the exhibition, Norman Gorbaty: Works in Dialogue, January 27 - March 28, 2011http...
This chapter explores the ways Robert Altman's 1970s cinema manipulates, utilizes, deconstructs and ...
This substantial publication is essentially a retrospective in print form of the artist's video inve...
Michel Bernard. Louis Corman, Nietzsche psychologue des profondeurs. In: Revue Philosophique de Louv...
This short text is one of six commissioned commentaries commissioned by artist and art historian Ste...
Kunz relates how Wegman expresses his familiarity with the nuances of popular American culture throu...
All eight feature films (1965-1981) of John Boorman were viewed and analyzed according to Auteur The...
Mayor describes the relationship between artist, work and spectator while Ylitalo offers a history o...
Hanhardt delineates filmic devices used in Gehr's films such as the use of found footage, superimpos...
Cosandey Roland. Donald Crafton, Emile Cohl, Caricature, and Film, 1990. In: 1895, revue d'histoire ...
The large-format portraits featured in the exhibition »Inwards and Onwards« testify to the substanti...
Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1984.MICROFICHE COP...