| dc.contributor.author | Quigley, Paula | |
| dc.date.accessioned | 2024-07-10T09:31:05Z | |
| dc.date.available | 2024-07-10T09:31:05Z | |
| dc.date.issued | 2015 | |
| dc.date.submitted | 2015 | en |
| dc.identifier.citation | Paula Quigley, The Perfect Human and 'modern cinema', Short Film Studies, 5, 2, 2015, 157 - 160 | en |
| dc.identifier.other | Y | |
| dc.description | PUBLISHED | en |
| dc.description.abstract | While this film has been described as ‘modern’ in terms of its style and structure, approaching the film as ‘modern cinema’ in the terms defined by Richard Rushton allows us to consider the effects of its deliberate disjunction between ‘theatricality’ and ‘absorption’, or an exhibitionistic and a voyeuristic regime. | en |
| dc.format.extent | 157 | en |
| dc.format.extent | 160 | en |
| dc.language.iso | en | en |
| dc.relation.ispartofseries | Short Film Studies; | |
| dc.relation.ispartofseries | 5; | |
| dc.relation.ispartofseries | 2; | |
| dc.rights | Y | en |
| dc.subject | ‘cinema of attractions’ | en |
| dc.subject | exhibitionism | en |
| dc.subject | voyeurism | en |
| dc.subject | theatricality | en |
| dc.subject | absorption | en |
| dc.subject | ‘modern cinema’ | en |
| dc.title | The Perfect Human and 'modern cinema' | en |
| dc.type | Journal Article | en |
| dc.type.supercollection | scholarly_publications | en |
| dc.type.supercollection | refereed_publications | en |
| dc.identifier.peoplefinderurl | http://people.tcd.ie/pquigley | |
| dc.identifier.rssinternalid | 99320 | |
| dc.identifier.doi | https://doi.org/10.1386/sfs.5.2.157_1 | |
| dc.rights.ecaccessrights | openAccess | |
| dc.subject.TCDTag | Theatre/Film Criticism | en |
| dc.identifier.rssuri | https://doi.org/10.1386/sfs.5.2.157_1 | |
| dc.identifier.orcid_id | 0000-0003-2912-2485 | |
| dc.identifier.uri | https://hdl.handle.net/2262/108731 | |
