Markos Hadjioannou
Biographic Data
| ID | 1027161 |
|---|---|
| NAME | Markos Hadjioannou |
| GIVEN NAMES | Markos |
| FAMILY NAME | Hadjioannou |
| SIGNATURE | HADJIOANNOU M |
| AFFILIATIONS | King's College London |
| ORCID | 0000-0001-5333-3456 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 0 |
Fathers in Flux
Fathers in Flux Rey Chow (bio) and Markos Hadjioannou (bio) In his magisterial study The Metamorphoses of Kinship, the anthropologist Maurice Godelier offers a memorably vivid image for thinking about the way sexual and gender roles are routinely activated and lived across cultures. The way human beings perform their intimate relations, Godelier suggests, often resembles the way a ventriloquist's dummy "speaks"-that is to say, by channeling voice…
The Hitchcockian Nudge; or, An Aesthetics of Deception
This article considers Alfred Hitchcock's work in relation to the connotations of "fallacy" within conventional settings of modern Western society. Focusing on two films, Strangers on a Train (1951) and Rear Window (1954), we point to the phenomenon of the incidental push that leads toward an inextricable entanglement of characters, events, and psychic forces in what appear to be logical courses of action. We name this push "the Hitchcockian nudg…
In the Cold Night of the Day
In between stage and screen
Where theatre was not dependent on a projector and screen for the manifestation of its fictitious worlds, cinema had to rely on such equipment for its representation of moving photographic images. In so doing, cinema could achieve what theatre could only allude to with the help of costumes, set design and the general consensus of the audience: a representation of the world itself. Nevertheless, this ability of cinematicity could only be achieved …
No prominent works on this page.
In between stage and screen
Where theatre was not dependent on a projector and screen for the manifestation of its fictitious worlds, cinema had to rely on such equipment for its representation of moving photographic images. In so doing, cinema could achieve what theatre could only allude to with the help of costumes, set design and the general consensus of the audience: a representation of the world itself. Nevertheless, this ability of cinematicity could only be achieved …
In the Cold Night of the Day
The Hitchcockian Nudge; or, An Aesthetics of Deception
This article considers Alfred Hitchcock's work in relation to the connotations of "fallacy" within conventional settings of modern Western society. Focusing on two films, Strangers on a Train (1951) and Rear Window (1954), we point to the phenomenon of the incidental push that leads toward an inextricable entanglement of characters, events, and psychic forces in what appear to be logical courses of action. We name this push "the Hitchcockian nudg…
Fathers in Flux
Fathers in Flux Rey Chow (bio) and Markos Hadjioannou (bio) In his magisterial study The Metamorphoses of Kinship, the anthropologist Maurice Godelier offers a memorably vivid image for thinking about the way sexual and gender roles are routinely activated and lived across cultures. The way human beings perform their intimate relations, Godelier suggests, often resembles the way a ventriloquist's dummy "speaks"-that is to say, by channeling voice…
Cinema and Media Studies (3 works) · Aesthetics (2 works) · Art (2 works) · Computer Science (2 works) · Epistemology (2 works) · Philosophy (2 works) · Shakespeare, Adaptation, and Literary Criticism (2 works) · Sociology (2 works) · Aging, Elder Care, and Social Issues (1 work) · Anthropological Studies and Insights (1 work)