Brian McFarlane
Biographic Data
| ID | 5407076 |
|---|---|
| NAME | Brian McFarlane |
| GIVEN NAMES | Brian |
| FAMILY NAME | McFarlane |
| SIGNATURE | MCFARLANE B |
| AFFILIATIONS | Monash University |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1977 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 0 |
Terry Gilliam
This book argues the centrality of hybridity to Terry Gilliam's films. Gilliam had a collaborative approach to filmmaking and a desire to provoke audiences to their own interpretations as other forms of intertextual practice. Placing Gilliam in the category of cinematic fantasist does some preliminary critical work, but crudely homogenises the diversity of his output. One way of marking this range comes from understanding that Gilliam employs an …
Thorold Dickinson
"Thorold Dickinson: a world of film." Historical Journal of Film, Radio and Television, 30(4), pp. 552–553
The Getting of Wisdom
McFarlane challenges Richardsonâ s assertion that The Getting of Wisdom is a â merry little bookâ by revealing the bleakness of the narrative in several key scenes. McFarlane stresses the disappointment and embarrassment for Laura in these scenes and, while not subscribing to strict biographical criticism, praises the transfer of fact from life to art because of the power it produces
No prominent works on this page.
The Getting of Wisdom
McFarlane challenges Richardsonâ s assertion that The Getting of Wisdom is a â merry little bookâ by revealing the bleakness of the narrative in several key scenes. McFarlane stresses the disappointment and embarrassment for Laura in these scenes and, while not subscribing to strict biographical criticism, praises the transfer of fact from life to art because of the power it produces
Thorold Dickinson
"Thorold Dickinson: a world of film." Historical Journal of Film, Radio and Television, 30(4), pp. 552–553
Terry Gilliam
This book argues the centrality of hybridity to Terry Gilliam's films. Gilliam had a collaborative approach to filmmaking and a desire to provoke audiences to their own interpretations as other forms of intertextual practice. Placing Gilliam in the category of cinematic fantasist does some preliminary critical work, but crudely homogenises the diversity of his output. One way of marking this range comes from understanding that Gilliam employs an …
Art (3 works) · Aesthetics (2 works) · Art history (2 works) · Literature (2 works) · Sociology (2 works) · Adventure (1 works) · Assertion (1 works) · Computer Science (1 works) · Criticism (1 works) · Disappointment (1 works)