Zobrazeno 1 - 10
of 56
pro vyhledávání: '"Celestino Deleyto"'
Autor:
Celestino Deleyto
Publikováno v:
Journal of Popular Romance Studies, Vol 2, Iss 1, Pp 1-11 (2011)
The most interesting things in romantic comedies happen in the middle. It is there that the characteristic tensions between melodramatic intensity and comedic cool, between laughter and frustration, between the social and the psychosexual take place.
Externí odkaz:
https://doaj.org/article/fa3ce99455a44e08aead51ba689b2676
Autor:
Celestino Deleyto
Publikováno v:
Miscelánea: A Journal of English and American Studies, Vol 24 (2001)
Externí odkaz:
https://doaj.org/article/8b23aeaec01b44b2a0ccf705cf6d6504
Autor:
Celestino Deleyto Alcalá
Publikováno v:
Miscelánea: A Journal of English and American Studies, Vol 19 (1998)
The ideology of romantic comedies has often been located in their attitude to the traditional happy ending: an unproblematic happy ending makes for a film that supports dominant discourses; a problematised one suggests attempts to transgress narrativ
Externí odkaz:
https://doaj.org/article/2b86958cd2434612a9e136c4ad32cdc3
Autor:
Alcalá, Celestino Deleyto, author
Publikováno v:
Refracting the Canon in Contemporary British Literature and Film. 35:95-110
This in-depth study of Mexican film director Alejandro González Iñárritu explores his role in moving Mexican filmmaking from a traditional nationalist agenda towards a more global focus. Working in the United States and in Mexico, Iñárritu cross
Autor:
Celestino Deleyto
Publikováno v:
ReFocus: The Films of Richard Linklater ISBN: 9781474493840
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::7359f27c0756ca8b7571d117dc953922
https://doi.org/10.1515/9781474493840-011
https://doi.org/10.1515/9781474493840-011
Publikováno v:
Studies in Spanish & Latin American Cinemas. 18:73-88
Like some of Alejandro González Iñárritu’s previous films, Birdman or (The Unexpected Virtue of Ignorance) (Iñárritu 2014) is an exploration of the place of individuals in the midst of various global forces, in this case, technological, social
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::23a1337ba1fd02ccc410f6820b9abf98
https://doi.org/10.1386/slac_00037_1
https://doi.org/10.1386/slac_00037_1
Autor:
Celestino Deleyto
Publikováno v:
Transnational Screens. 12:62-78
This article examines the Netflix-produced film The King (David Michod, 2019) from a transnational perspective. It inscribes the new film within the micro-history of cinema adaptations of William S...
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::37bf5428ce74058b5c2876b5f190111c
https://doi.org/10.1080/25785273.2021.1909294
https://doi.org/10.1080/25785273.2021.1909294
Autor:
Celestino Deleyto
Publikováno v:
New Review of Film and Television Studies. 18:325-344
(Gareth Edwards, 2010) illustrates the collusion in contemporary visual culture between the digital and the cosmopolitan. Starting from a pivotal moment in the film in which the wonders of the bord...
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::dab8e02dcae72911b1237f09f5a77677
https://doi.org/10.1080/17400309.2020.1786341
https://doi.org/10.1080/17400309.2020.1786341
Autor:
Celestino Deleyto
Publikováno v:
Studies in Spanish & Latin-American Cinemas. 17:51-72
This article examines Truman (Gay, 2015) as an example of a transnational co-production between Argentina and Spain within the wider context of contemporary co-productions in Latin American cinema. The article uses cultural-industrial analysis and co
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::9230c38d22da8114ae2e37275c95a603
https://doi.org/10.1386/slac_00011_1
https://doi.org/10.1386/slac_00011_1