DOCSLIB.ORG

Exploring the Nature of Walking in Dance/Movement Therapy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exploring the Nature of Walking in Dance/Movement Therapy Exploring the Nature of Walking in Dance/Movement Therapy: An Artistic Inquiry A Thesis Submitted to the Faculty of Drexel University by Lauren M. Albert in partial fulfillment of the requirements for the degree of Master of Arts Dance/Movement Therapy and Counseling June 2015 © Copyright 2015 Lauren M. Albert. All Rights Reserved. ii Dedications I dedicate this thesis to significant loved ones. To my grandmother, Rose Marie Gatto who I vividly remember taking long walks down a street where my family used to live. I do not remember the details of what we spoke about but I remember the panorama view of the green around us, and the feeling of being in motion with an important woman who I admired and looked after me by my side. To my grandfather, Nathan Albert who told me his two greatest joys in life were walking and reading. He was a brilliant man, who was an admirable son, father, grandfather, professor, philosopher and poet. He walked nearly five miles everyday until the last years of his life. To my parents, Susan and Norman Albert, whose support and love have made my career as a dance/movement therapist possible. To my fiancé, Nathan Groblewski, who has been by my side through this process and to whom I am soulfully dedicated to walking beside to new and familiar places, for as long as possible. To the dance/movement therapists who participated in this study and who gracefully enabled me to walk in their shoes and to discover their own wisdom on walking. Their creativity, passion and commitment to the work that they do made this thesis possible. iii Acknowledgements To my thesis committee, who volunteered hours of work and layers of wisdom, I thank you. Sharon W. Goodill, Ph.D., BC-DMT, NCC, LPC As my thesis advisor, I would like to thank Dr. Sharon W. Goodill for her expert advice and encouragement throughout this thesis as well as for her brilliance and contribution to the field of dance/movement therapy. She has dedicated uncountable hours to helping me see this thesis to fruition. Her passion and dedication to dance/movement therapy research was palpable throughout this process and was largely responsible for keeping me inspired to discover the unknown avenues of walking in dance/movement therapy. In addition to her passion and inspiration, she has challenged me, helped to shape and clarify my ideas, provided insight, pointed me towards many resources, gave critical feedback, helped me to look at the bigger picture and shown me that I am capable of achieving more than I ever imagined as both a dance/movement therapist and a scholar and to her I am immensely grateful. Anne Margrethe Melsom, MA, BC-DMT, LPC, NCC As a member of my committee, a clinical supervisor and a professor, I would like to thank Anne Margrethe Melsom for reading through this work, providing advice and for her expertise in dance/movement therapy. Her wisdom, encouragement, intuition and knowledge in dance/movement therapy theory, interventions and treatment approaches greatly influenced my development as a dance/movement therapist. Elizabeth Templeton, Ed.D, BC-DMT, NCC As a member of my committee, a professor and constant source of encouragement and inspiration, I would like to thank Dr. Elizabeth Templeton for her encouragement, insightful comments, and hard questions. Her understanding, creative vision, warmth and wisdom added considerably to my graduate experience. Her vast knowledge and skills in many areas including her expertise in artistic inquiry research is influential to this thesis. Additionally I would like to acknowledge, Dr. Gioia Chilton, Elizabeth McNamara, Suzanne Hastie, Ellen Schelly Hill and Dawn Morningstar for your influence on this work. iv Table of Contents ABSTRACT ...................................................................................................................... vii CHAPTER 1: INTRODUCTION ........................................................................................1 CHAPTER 2: LITERATURE REVIEW .............................................................................6 2.1 Nature of Walking..........................................................................................................6 2.1.1 Developmental Theories on Learning to Walk .....................................................6 2.1.2 Theories of Walking in Dance/Movement Therapy ...........................................13 2.2 Walking in Dance/Movement Therapy Practice ..........................................................14 2.2.1 Walking as an Embodied Metaphor ....................................................................15 2.2.2 Walking to Increase Grounding/Here and Now ..................................................20 2.2.3 Walking to Increase Power/Control/Autonomy..................................................23 2.2.4 Walking as a Relational Process .........................................................................26 2.2.5 Walking With Individuals Who Have Limited Mobility ....................................29 2.2.6 Walking as an Assessment Tool .........................................................................30 2.2.7 Summary of How Walking is Used in Dance/Movement Therapy ....................33 2.3 Walking in Other Disciplines.......................................................................................34 2.3.1 Walking in Other Creative Arts Therapies .........................................................34 2.3.2 Walking in Rehabilitation/Loss of Ability ..........................................................37 2.4 Walking and Creativity ................................................................................................39 2.5 Artistic Inquiry .............................................................................................................44 CHAPTER 3: METHODS .................................................................................................48 3.1 Design ..........................................................................................................................48 3.1.1 Design of Study...................................................................................................48 3.1.2 Location of Study ................................................................................................48 3.1.3 Time Period for Study .........................................................................................48 3.1.4 Enrollment Information ......................................................................................49 3.1.5 Participant Type ..................................................................................................49 3.1.6 Participant Source ...............................................................................................49 3.1.7 Participant Inclusion Criteria ..............................................................................49 3.1.8 Participant Exclusion Criteria .............................................................................49 3.2 Investigational Methods and Procedures .....................................................................50 3.2.1 Pre-Study Procedures ..........................................................................................50 3.2.2 Recruitment/Consent Procedures ........................................................................50 3.2.3 Study Procedures ................................................................................................51 3.2.4 Possible Risks and Discomforts to Subjects .......................................................53 3.2.5 Special Precautions to Minimize Risks or Hazards ............................................53 3.3 Data Collection ............................................................................................................54 3.3.1 Overview .............................................................................................................54 3.3.2 Data Storage ........................................................................................................54 3.4 Data Analysis ...............................................................................................................54 3.4.1 Data Analysis I: Identify “Preliminary Themes I” ............................................ 55 3.4.2 Data Analysis II: Identify “Preliminary Themes II” .......................................... 56 3.4.3 Data Analysis III: Creative Synthesis .................................................................56 v CHAPTER 4: RESULTS ...................................................................................................58 4.1 Summary of Participant 1’s Movement Motif, Written Responses From Participants and Written Reflection From the Researcher .....................................................................59 4.1.1 Participant 1: Summary of Motif ........................................................................59 4.1.2 Participant 1: Written Responses from Participants ...........................................59 4.1.3 Participant 1: Written Reflection from the Researcher .......................................60 4.2 Summary of Participant 2’s Movement Motif, Written Responses From Participants and Written Reflection From the Researcher .....................................................................61 4.2.1 Participant 2: Summary of Motif ........................................................................61 4.2.2 Participant 2: Written Responses from Participants ...........................................61
Load more

Recommended publications
  • The Hyperlocal Newsroom (Multi-Media; BER Section)
    Multimedia Storytelling JOUR-GA.1080.002 ( Fall 2021 Instructor: Jason D. Maloney Time: Fridays, 11:00 a.m. to 2:40 p.m. Room: 653 Office Hours: Room 726, Fridays 10:00a-1:00pm and by appointment. Course Requirements: The basic requirement of the course is to learn how to produce multi-media content. Over the semester, students will significantly develop their abilities in basic photography, audio production and video production. At the same time students will constantly expand their capacity for journalism – focusing on the core skills of research, interviewing, digesting and presenting important information. This course is not just an academic exercise, we will be actively reporting. We will use New York City as our assignment area and produce real audiovisual content on a regular basis. As students will own their media, they will have the option to place it on any news site or blog they wish. They will also benefit from having the ability to produce content for Bedford+Bowery, the hyperlocal news blog that is a joint venture between the New York Magazine and NYU. Class time will be divided into theoretical lessons, technical skills training and in-class exercises, but we will also focus on discussing and improving ongoing class assignments. By providing timely and constructive feedback on projects underway we will sharpen skills and production fluency. Students will therefore be expected to contribute to the editorial process of each other’s projects. While much of what we will learn will be of a technical skills nature, for example practicing how to shoot sequences, learning basic effects in Adobe Premiere, our main priority will be to learn and practice the essential elements of visual storytelling and reporting.
    [Show full text]
  • Introduction
    CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills......................................................
    [Show full text]
  • V=Docl3koqnhi
    MITOCW | watch?v=Docl3KOqnHI The following content is provided under a Creative Commons license. Your support will help MIT OpenCourseWare continue to offer high quality educational resources for free. To make a donation or to view additional materials from hundreds of MIT courses, visit MIT OpenCourseWare at ocw.mit.edu. PROFESSOR: All right, so for the rest of class, I'm going to talk about post-production. Do you guys want to take a five minute break before I jump into that? OK. I will do that when you guys come back. All right, so last lecture-- should I stand up for this since I stood for all the other ones? OK. Feel free to interrupt me at anytime. So I'm going to start off with my favorite quote of all time, at least for this class, which is, "In writing, you must kill all your darlings." And that is what today's lecture is about. Post-production 101 or Killing All of Your Darlings. So when we think of production, we think of the journey that we have taken in the last week of this class. We start with ideation, we script, we storyboard, shoot, edit, and then we get to this product magically. And we have these three concrete steps of pre-production, production, which is what you're about to do, and post-production. Let me know when I can go to the next slide. The reality is that it's not like that at all. And maybe you've seen that. Hopefully, you've seen that in the course in the last week-- that you don't do production in this nice linear, sequential format, but you ideate and you script.
    [Show full text]
  • Therapist's Perceptions of Walk and Talk Therapy: a Grounded Study
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Fall 12-17-2011 Therapist's Perceptions of Walk and Talk Therapy: A Grounded Study Bridget L. McKinney UNO, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Social and Behavioral Sciences Commons Recommended Citation McKinney, Bridget L., "Therapist's Perceptions of Walk and Talk Therapy: A Grounded Study" (2011). University of New Orleans Theses and Dissertations. 1375. https://scholarworks.uno.edu/td/1375 This Dissertation is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Therapist’s Perceptions of Walk and Talk Therapy: A Grounded Study A Dissertation Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Counselor Education by Bridget L. McKinney B.S. University of Louisiana at Lafayette, 2002 M.S. University of Louisiana at Lafayette, 2005 December 2011 Copyright page ii Dedication I would like to dedicate this dissertation to the walk and talk therapists who participated in my study.
    [Show full text]
  • Making PBIS Homegrown Videos 3 20 16
    The following guidelines are based on my own experience working in the television industry, and specifically my observations and experiences working at school sites creating PBIS training videos. Please feel free to expand or alter according to your own experience and creative ideas! The three stages of producing videos are: Pre-Production, Production and Post- Production. Key elements to keep in mind as you plan your video: 1. Planning is critical. I recommend a dedicated notebook! 2. Consider limitations of schedule, talent and locations. 3. Do your best not to “over-produce”. 4. Keeping your videos short will help simplify the process. PRE-PRODUCTION 1. Determine your story/subject: • What are your goals in making this video? • Who is your audience? • How long is your project? • What is your timeline? • Do you need a budget? 2. Once you’ve defined the above elements: • Determine Interview subjects or “actors”. Prepare your interview questions. • Determine your production team/crew. • If possible, assign different people to take on the Producer role, the director role and the role of editor. In addition, ask another adult or student to act as assistants while filming and/or in editorial to help on shoot days. • Create storyboards or a detailed outline or script. If your video idea lends itself to a script, use a simple two-column format with video on the left and audio on the right. If your idea is more visual use storyboards (even rudimentary drawings work!). • If necessary practice with camera and lighting. • Try to rehearse if shooting complicated scenes like musical numbers.
    [Show full text]
  • April 14 Meeting Slides FINAL.Pdf
    Communicators Spring 2020 CTSA Program Virtual Meeting Tuesday, April 14, 2020 1:00 – 2:30 pm ET The University of Rochester Center for Leading Innovation and Collaboration (CLIC) is the coordinating center for the Clinical and Translational Science Awards (CTSA) Program, funded by the National Center for Advancing Translational Sciences (NCATS) at the National Institutes of Health (NIH), Grant U24TR002260. Welcome to the Communicators 2020 Spring CTSA Program Virtual Meeting • Sound/Audio: • Zoom tools: • Computer speakers • Hover over bottom or top of window to show task panel Mute or Unmute line Chat to call moderator or other call participants • or Phone See list of call participants Enter participant ID to display your name Please mute your line upon entering the call. You will be able to unmute your line to talk. Thank you to the Spring Meeting Planning Committee! • Wendy Meyer, Director of Communications and Marketing, CCTSI, University of Colorado, Denver • Meghan Meyer, Associate Director, Communications, University of Florida CTSI • Leslie Roettger, Media/Marketing Administrator, ICTS, Washington University School of Medicine in St. Louis • Michelle Maclay Herndon, Director of Community and Partner Relations, TCSI, University of North Carolina School of Medicine • Roger Anderson, Director, Marketing and Communications, Northwestern University CTSI Agenda TIME TOPIC PRESENTER(S) 1:00 pm Welcome and NCATS Updates Bobbi Gardner 1:15 pm TriNetX Explainer Video Diedtra Henderson 1:25 pm CCTSI Show and Tell Wendy Meyer 1:35 pm UF
    [Show full text]
  • Special Program to Discuss Cougar Populations
    U.S. Fish and Wildlife Service PO Box 510 National Elk Refuge Jackson, Wyoming 83001 FOR IMMEDIATE RELEASE Lori Iverson January 3, 2012 12-01 307.733.9212, ext. 6 SPECIAL PROGRAM TO DISCUSS COUGAR POPULATIONS The National Elk Refuge will be hosting a special hour-long presentation on Wednesday, January 11 at 12:30 PM to share information about cougars and to highlight the area’s Teton Cougar Project. The presentation, which will be held at the Jackson Hole & Greater Yellowstone Visitor Center at 532 N. Cache Street in Jackson, will be led by wildlife biologist Marilyn Cuthill from Craighead Beringia South. Cuthill has been with the Kelly, Wyoming wildlife research organization since 2005. In her role as Teton Cougar Project coordinator, Cuthill oversees the daily activities of field data collection and immobilizing and radio collaring cougars. During her presentation, she will discuss perceptions and facts about cougars, habitat and range, factors that affect cougar populations, and human and mountain lion interactions. “We’re looking forward to sharing how cougar populations can shape biodiversity and play an essential role in ecologic function over most of their range,” Cuthill said. “With cougars expanding their territories, sightings of cougars have increased. Consequently, it’s important to learn more about these elusive animals and their characteristics.” The presentation is open to the public and free of charge. Participants may bring a lunch to enjoy during the noon hour talk; light refreshments will be served. For more information on the program, please contact the National Elk Refuge administrative offices at 307.733.9212.
    [Show full text]
  • Camera Operator
    CAMERA OPERATOR Edited by Prof. Chandrabhanu Pattanayak Camera shooting techniques Videography Cinematography Set lighting Film and digital camera operation Shaping Lives... Empowering Communities... CAMERA OPERATOR Skill Development Program A Skill Development Programme on Camera Operator (Aligned to MES/ Q 0902 of Media and Entertainment Skills Council, India) INSTITUTE OF KNOWLEDGE SOCIETIES CENTURION UNIVERSITY OF TECHNOLOGY AND MANAGEMENT Page 3 CAMERA OPERATOR This course has been developed with the support of the Commonwealth of Learning (COL). COL is an intergovernmental organisation created by Commonwealth Heads of Government to promote the development and sharing of open learning and distance education knowledge, resources and technologies. Centurion University of Technology and Management (CUTM) is a multicampus state private univesity in India offering liberal, professional and technical education in various dsciplines. The University focuses on ‗hands-on‘, ‗experience based‘, ‗practice oriented‘ learning. While promoting Nano, Mini and Micro Enterprises, the University works toward learning experiences that are ‗quantifiable‘, ‗sustainable‘, ‗scalable‘ and ‗replicable‘. CUTM is redefining the learning platform through: (i) skill integrated, domain linked, teaching and learning; (ii) industry and community partnerships; (iii) creating and co-creating enterprises; and (iv) an eco-system approach which includes community, enterprise, industry and educational institutes. © 2018 by the Commonwealth of Learning and Centurion University
    [Show full text]
  • On-Camera Leadership Options for Ceos & Executives
    On-Camera Leadership Options for CEOs & Executives by Vern Oakley Tribe Pictures | 310 Main Street, Chatham, NJ 07928 | 973.635.2660 | www.tribepictures.com | © 2020 Tribe Pictures 1 On-Camera Leadership Options for CEOs & Executives Find Your Groove in Front of the Lens The more time you can put into preparing for film day, the more comfortable you’ll feel in front of the camera, no matter One of the biggest decisions you’ll make when planning a what format you choose. Oftentimes, leaders don’t make their video is choosing your communication style. You have three own calendar, leaving assistants or others on their support broad options: speaking directly to the camera, speaking di- team to schedule video time. This leaves little room for prep rectly to an interviewer, or speaking directly to an audience. on your end. Each method has variations, which we’ll explore. The style Whatever your role in this scenario, your best first move is to you choose will depend on what you’re most comfortable push for more prep time if you can. with, the message you’re sharing, and most importantly, the amount of time you’re able to devote to your communication. Also, remember that you’re not alone in this. Your director will work with you and your trusted team to help strategize Whether you’re filming in your company’s in-house studio or the best communication style for your scenario. firing up your laptop camera for a quick intimate message, the concepts here still apply. Large-scale or small, the principles It’s not just you and the blinking red camera light.
    [Show full text]
  • Social Work, Sociometry, and Psychodrama
    Psychodrama in Counselling, Coaching and Education 1 Scott Giacomucci Social Work, Sociometry, and Psychodrama Experiential Approaches for Group Therapists, Community Leaders, and Social Workers Psychodrama in Counselling, Coaching and Education Volume 1 Series Editors Jochen Becker-Ebel, Psychodrama and Geriatric Palliative Care, Yenepoya University, Mangalore, India Scott Giacomucci, Social Work and Social Research, Bryn Mawr Graduate School of Social Work, Philadelphia, USA The series situates psychodrama studies and research in Asia and beyond in a global context. It provides a unique and innovative resource for the latest developments in the field, nurturing a comprehensive and encompassing publication venue for human- istic psychodrama and sociodrama in therapy and coaching. The series publishes peer-reviewed volumes related to therapy, psychotherapy, counselling, coaching, HRD, team development and education including training. The series reflects on cultural creativity and new developments beyond J L Moreno in the second century of the existence of Psychodrama. The editor, with the assistance of distinguished scholars from Asia and elsewhere specializing in a variety of disciplinary and thematic areas, welcomes proposals that are related to the above-mentioned wide- ranging psychodrama studies. The series promotes the understanding of psychodra- matic tools which are relevant in education, coaching, and team development. The series will appeal to researchers, clinicians/practitioners, and graduate students in the behavioral, social,
    [Show full text]
  • Intensified Continuity Visual Style in Contemporary American Film Author(S): David Bordwell Reviewed Work(S): Source: Film Quarterly, Vol
    Intensified Continuity Visual Style in Contemporary American Film Author(s): David Bordwell Reviewed work(s): Source: Film Quarterly, Vol. 55, No. 3 (Spring 2002), pp. 16-28 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/fq.2002.55.3.16 . Accessed: 29/01/2013 22:25 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Film Quarterly. http://www.jstor.org This content downloaded on Tue, 29 Jan 2013 22:25:15 PM All use subject to JSTOR Terms and Conditions DavidBordwell IntensiéedContinuity VisualStyleinContemporaryAmericanFilm ormanyofus,today’spopularAmericancinemais entationsandeyelines,andtheshots,howeverdiffer- Falwaysfast,seldomcheap,andusuallyoutofcon- entinangle,aretakenfromonesideofthataxis.The trol.Whatcomestomindareendlessremakesandse- actors’movementsarematchedacrosscuts,andasthe quels, gross-out comedies, overwhelming special scenedevelopstheshotsgetclosertotheperformers, effects,andgiganticexplosionswiththeherohurtling carryingustotheheartofthedrama.4
    [Show full text]
  • Intenzív Folyamatosság Vizuális Stílus a Kortárs Amerikai Filmben*
    2012 no. 4. David Bordwell Intenzív folyamatosság Vizuális stílus a kortárs amerikai filmben* okunk számára a kortárs amerikai tömegfilm Ezek a vélemények azonban a legtöbbször csupán Sszédítõ tempójú, nemritkán olcsó, legtöbbször felszínes megfigyelésekre épülnek. Több teoretikus fékevesztett szórakozást jelent. Remake-ek és foly - filmek széles skálájának vizsgálata alapján meggyõzõen tatások végtelen sora idézõdik elénk, altesti komédiák, érvelt amellett, hogy a hollywoodi elbeszélésmód, leg - letaglózó speciális effektusok és hatalmas robbanások, fontosabb jellemzõit tekintve, a stúdiókorszak óta nem amikor a hõs a tûzgolyó háttere elõtt a kamera felé változott meg alapvetõen.3 Ha a vizuális stílusban az sodródik. Napjaink mozija, azt is mondhatnánk, éppen elmúlt negyven évben bekövetkezett módosulásokat úgy mûködik, mint saját beharangozó elõzetese. Ehhez vizsgáljuk, hasonló következtetést kell levonnunk. Tér, hasonló benyomásokból kiindulva néhány teoretikus idõ és narratív viszonyok (úgymint kauzális kapcso latok amellett érvelt, hogy az amerikai filmgyártás nagyjából és párhuzamok) reprezentációját tekintetve napjaink 1960 óta a stúdiókorszaktól gyökeresen különbözõ filmjei a klasszikus filmkészítés alapelveihez ragaszkod - „posztklasszikus” korszakba lépett.1 Véleményük sze- nak. Az expozíciót és a karakterfejlõdést hasonló módon rint a high-concept blockbuster-filmmel, amely a marke - kezelik, mint azt 1960 elõtt tették volna. A flashbackek és ting egyre különbözõbb módjaival él és egyre többféle ellipszisek csupán idõlegesen bizony talanítanak el és médiafelületen jelenik meg, az inkoherens elbeszélés és visszamenõlegesen következe tesek maradnak. A fõcí - a stilisztikai töredezettség mozija jött létre.2 mek ben és montázsszekven ciákban megjelenhetnek k * A fordítás alapja: Bordwell, David: Intensified Continuity. Visual Style in Contemporary American Film. Film Quarterly 55 (2002) no. 3. pp. 16—28. Jelen tanulmányhoz Doug Battema, Julie D’Acci, Nietzchka Keene, Jason Mittell és Jennifer Wang is hozzájárultak észrevételeikkel.
    [Show full text]