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Volumn 46, Issue 4, 2005, Pages 401-414

Thresholds: Film as film and the aesthetic experience

(1)  Kuhn, Annette a  

a NONE

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EID: 85047696535     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: 10.1093/screen/46.4.401     Document Type: Review
Times cited : (21)

References (32)
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    • London: Karnac Books 240
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    • (1951) Through Paediatrics to Psychoanalysis: Collected Papers , pp. 229-242
    • Winnicott, D.W.1
  • 2
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    • The use of an object and relating through identifications'
    • See also Winnicott, The use of an object and relating through identifications' (1968), in Through Paediatrics to Psychoanalysis, pp. 218-27
    • Through Paediatrics to Psychoanalysis , pp. 218-227
    • Winnicott1
  • 6
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    • The location of cultural experience
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    • (1967) Playing and Reality , pp. 95-103
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  • 7
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    • The aesthetic moment and the search for transformation
    • Peter L. Rudnytsky ed, New York, NY: Columbia University Press
    • Christopher Bollas, 'The aesthetic moment and the search for transformation', in Peter L. Rudnytsky (ed.). Transitional Objects and Potential Spaces: Literary Uses of D. W. Winnicott (New York, NY: Columbia University Press, 1993), pp. 40-49
    • (1993) Transitional Objects and Potential Spaces: Literary Uses of D. W. Winnicott , pp. 40-49
    • Bollas, C.1
  • 8
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    • The role of illusion in symbol formation
    • In her discussion of the aesthetic moment, 'The role of illusion in symbol formation', in Rudnytsky (ed.), Transitional Objects, pp. 13-39, Milner references Berenson's Aesthetics and History (London: Constable, 1950)
    • (1950) Transitional Objects , pp. 13-39
    • Rudnytsky1
  • 10
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    • Between reality and fantasy
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    • See also Werner Muensterberger, 'Between reality and fantasy', in Grolnick and Barkin (eds), Between Reality and Fantasy, pp. 5-13
    • Between Reality and Fantasy , pp. 5-13
    • Muensterberger, W.1
  • 11
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    • Rose, 'The creativity of everyday life'. New York, NY: International Universities Press
    • Rose, 'The creativity of everyday life'. See also Rose, The Power of Form: a Psychoanalytic Approach to Aesthetic Form (New York, NY: International Universities Press, 1980)
    • (1980) The Power of Form: a Psychoanalytic Approach to Aesthetic Form
    • Rose1
  • 12
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    • Winnicott and the two-way journey
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    • (1972) The Suppressed Madness of Sane Men , pp. 246-252
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  • 14
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    • Ellen Siegelman, 'Playing with the opposites: symbolization and transitional space', in N. Schwartz-Salant and M. Stein (eds), Liminality and Transitional Phenomena (Wilmette, IL: Chiron Publications, 1991), pp. 151-68
    • (1991) Liminality and Transitional Phenomena , pp. 151-168
    • Siegelman, E.1
  • 16
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    • The evolution of the language of cinema
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  • 17
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    • Film and the new psychology
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    • 0041328835 scopus 로고    scopus 로고
    • The ontology of the photographic image
    • p. 16
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  • 22
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    • The social art cinema: A moment in the history of British film and television culture
    • Christopher Williams ed, London: British Film Institute
    • Christopher Williams, 'The social art cinema: a moment in the history of British film and television culture', in Christopher Williams (ed.), Cinema: the Beginnings and the Future (London: British Film Institute, 1996), pp. 190-200
    • (1996) Cinema: The Beginnings and the Future , pp. 190-200
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  • 23
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  • 27
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    • On the threshold between past and present: Alternative heritage
    • Phil Powrie engages the idea of threshold to consider how Distant Voices, Still Lives and other examples of the British 'alternative heritage film' call into question fixed notions of nationhood and national history: 'On the threshold between past and present: "alternative heritage"', in Andrew Higson (ed.), British Cinema: Past and Present (London: Routledge, 2000). pp. 316-26
    • (2000) British Cinema: Past and Present , pp. 316-326
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  • 29
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    • Kuhn, A.1


* 이 정보는 Elsevier사의 SCOPUS DB에서 KISTI가 분석하여 추출한 것입니다.