Trumbo builds on the Johnny Got His Gun dialectics on the works of György Lukács and Mikhail Bakhtin, expressing what we can best describe as a body of grotesque, reified, and phenomenal.
Category: Analysis and Essay (Page 28 of 47)
Pierrot le Fou is proof of Godard’s willingness not to hide anything from the eyes of the cameras.
Yu Yu Hakusho is seething, exploring the impulses of anger, bitterness, and the kind that drive the viewer through various arcs filled with masculinity and terror.
In understanding the various complementary sequences of Meshes of the Afternoon and its alternative objects, there are several games for us to play.
What is significant, however, is that the issues in Pride and Prejudice are much more localized and abstract than we sometimes suggest.
Ocarina of Time thus exists as a narrative expression of players and developers alike.
Akira is more than eye-catching visuals, science fiction concepts, and exuberant motorcycle action.