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Continuum
Journal of Media & Cultural Studies
Volume 27, 2013 - Issue 5: This is the Sea: Cinema at the Shoreline
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Article

Death and life at the cinematic beach

Sean RedmondSchool of Communication and Creative Arts, Faculty of Arts and Education, Deakin University, Burwood Highway, MelbourneVictoriaAustraliaCorrespondence[email protected]
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Pages 715-728 | Published online: 29 Aug 2013

REFERENCES

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  • Bazin, André. 1980. “The Ontology of the Photographic Image.” In Classic Essays on Photography, edited by AlanTrachtenber, 243. New Haven, CT: Leete's Island Books.
  • Campion, Jane. 1991. The Piano. Accessed March 22, 2012. http://sfy.ru/?script = piano_the_ds.
  • Crampton, Andrew, and MarcusPower. 2005. “Frames of Reference on the Geopolitical Stage: Saving Private Ryan and the Second World War/Second Gulf War Intertext.” Geopolitics10 (2): 244–265.
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  • Hermes, Gretchen. 2006. “The 400 Blows – Children Lost in the Health Care System.” Virtual Mentor8: 689–693.
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  • Leotta, Alfio. 2009. “Framing the Beach: A Tourist Reading of The Piano.” Studies in Australasian Cinema3 (3): 229–238.
  • Lewis, Jeff, and KirstyBest. 2005. “Pure Filth: Apocalyptic Hedonism and the Postmodern Surfer.” Scope: An On-Line Journal of Film Studies2: 1–13. Accessed October 18, 2010. http://www.scope.nottingham.ac.uk/article.php?issue = 2&id = 69.
  • Redmond, Sean. 2013. The Cinema of Takeshi Kitano: Flowering Blood. London: Wallflower Press.
  • Roth, Bennett E.2000. “The Piano: A Modern Film Melodrama about Passion and Punishment.” Psychoanalytic Psychology17 (2): 405–413.
  • Sobchack, Vivian. 2000. “What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh.” Issue 5, Special Effects/Special Affects: Technologies of the Screen – A Symposium Senses of Cinema. April. Accessed November 4, 2012. http://sensesofcinema.com/2000/5/fingers/.
  • Wollen, Peter. 1972. “Godard and Counter Cinema: Vent d'Est.” Afterimage4 (Autumn): 6–17.

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