Frames, Windows, and Mirrors. Sensing Still Bodies in Films by Manoel de Oliveira
In the case of Oliveira’s Doomed Love (Amor de Perdição, 1978) (an adaptation of the homonymous classic Portuguese novel), Bresson’s model theory provides an adequate theoretical model for a melodrama in which characters, ‘hit by fate,’ are following their destinies as if ‘under hypnosis.’ Besides a...
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| Format: | Article |
| Language: | English |
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Sciendo
2014-09-01
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| Series: | Acta Universitatis Sapientiae: Film and Media Studies |
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| Online Access: | https://doi.org/10.2478/ausfm-2014-0023 |