Nuevo texto crítico, Edições 21-22Department of Spanish and Portuguese, Stanford University, 1998 |
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Página 197
... sequence also lyrically suggests absence and loss , which are among the song's major themes . In final sequence of " Chuá , Chuá , " the woman does not appear at all . Shots of the stream and cattle in the field are followed by a long ...
... sequence also lyrically suggests absence and loss , which are among the song's major themes . In final sequence of " Chuá , Chuá , " the woman does not appear at all . Shots of the stream and cattle in the field are followed by a long ...
Página 243
... sequence that takes place at night , in Miller's cabin , after Traver has surrendered the stolen weapons and accepted Miller's offer of work ( taking his proper place in society , we might say ) . The sequence begins with an exterior ...
... sequence that takes place at night , in Miller's cabin , after Traver has surrendered the stolen weapons and accepted Miller's offer of work ( taking his proper place in society , we might say ) . The sequence begins with an exterior ...
Página 244
... sequence ends as Traver leaves , Evvie accompanies him to the door , and the camera follows her . She comes back to sit across from Miller , pricks herself with the needle , and there is a medium close - up as she sucks on her thumb ...
... sequence ends as Traver leaves , Evvie accompanies him to the door , and the camera follows her . She comes back to sit across from Miller , pricks herself with the needle , and there is a medium close - up as she sucks on her thumb ...
Conteúdo
EneroDiciembre 1998 Número 2122 | 10 |
THE BIG PICTURE | 14 |
Cityscapes and Alienation Buenos Aires | 77 |
Direitos autorais | |
6 outras seções não mostradas
Outras edições - Ver todos
Termos e frases comuns
actor American Cinema amigo amor años Araya Argentina Aruanda aunque autor Benacerraf Benito bien Brazil Brazilian cinema Buenos Aires Buñuel cambio Cangaceiro cangaço Carlos Hugo Christensen casa caso chanchadas Christensen Cinema Novo cinematográfica comedia crítica critics Cruz cuento cultural después día diferente director documentary ejemplo el film entonces época escena espectador éste estilo Fernando film history film's filmmakers García género Glauber Rocha Grande Otelo había hecho hijo historia Hollywood hombre industry interesante jefe Jorge José Latin American Leopoldo Torre Nilsson Luis Lumiton María Mario Mario Soffici Mauro melodrama Mexican Mexico muerte mujer mundo Neo-realism nuevo obra Orson Otelo padre Paulo película period Perón personajes political popular primera production realidad relato Rio de Janeiro Roberto Romero samba Santos São Paulo Schlieper sequence shot Sinhá Moça sino social sólo studio tarde tema texto tiempo tion Tomás Tomás Eloy Martínez urban veces Venezuelan Viany vida Welles's