gwendolyn audrey foster造句

• Film scholar Gwendolyn Audrey Foster notes that May is drawn to material that borders on dry Yiddish humor.
• Feminist critic Gwendolyn Audrey Foster described the show as " almost entirely shorn of narrative and any sense of morality . " She elaborated:
• According to film scholar Gwendolyn Audrey Foster, Davis believes that black filmmakers are " developing a new genre that constitutes a black aesthetic ".
• According to film scholar Gwendolyn Audrey Foster, " Black Box " is a " terrifying allegory of societal restriction of the individual ."
• Author, Gwendolyn Audrey Foster, describes Ngozi Onwurah's work as " a thinking and feeling cinema, a wedding of formalism and realism and something irreducibly and excessively corporeal and hyperreal ".
• According to Hammer, and to film academic Gwendolyn Audrey Foster, a central theme of " Tender Fictions " is the " constructedness " of biographies and autobiographies and, by extension, the self.
• "' Gwendolyn Audrey Foster "'is a prolific film scholar and filmmaker with a focus on numerous areas related to cinema, often with an emphasis on gender, race, eco-feminism, lgbtq sexuality, eco-theory, and class studies-in film studies and cultural studies.
• According to film scholar Gwendolyn Audrey Foster, Greenwald's " sense of macabre humor " was apparent in her 1989 film " The Kill-Off ", which Foster described as a " well-acted adaptation of a hard-boiled novel " about a " bedridden, evil gossip ."
• According to film scholar Gwendolyn Audrey Foster, the film " carefully articulates what happens when women stray from the confines of the safe all-girl environment " when they are " subject to the sexist advances of drunk, aggressive men . " Her films of the following three years were strong examples of Hollywood before the Production Code.
• Its contributors have included Rapha雔 Bassan, Barbara Creed, Wheeler Winston Dixon, David Ehrenstein, Thomas Elsaesser, Valie Export, Gwendolyn Audrey Foster, Dua
  an Makavejev, Edgar Morin, Joseph Natoli, Murray Pomerance, Berenice Reynaud, Jonathan Rosenbaum, David Sanjek, Sally Shafto, David Sterritt, Robert von Dassanowsky, and Viviane Vagh.
• Dixon and Foster are also Series Editors of " New Perspectives on World Cinema Series " a collection of monographs on global studies in international cinema published by Anthem in the UK . Gwendolyn Audrey Foster publishes in many journals such as " Choice ", " Senses of Cinema ", " Film International ", and " Quarterly Review of Film and Video ".
• In his 1965 essay " The Esthetic of Hunger, " Rocha stated that " the hunger of South America is not simply an alarming symptom : it is the essence of our society . . . . [ Cinema Novo's ] originality is [ South Americans'] hunger [, ] and our greatest misery is that this hunger is felt but not intellectually understood . " On this note, Wheeler Winston Dixon and Gwendolyn Audrey Foster hold that " [ t ] he Marxist implications of [ Rocha's ] cinema are hard to miss ".
• It was criticized as uneven and overlong in a " Variety " review, and is characterized as " disappointing " in de Hirsch's biography by Cecile Starr . and Gregory Markopoulos was impressed with its " visual wisdom . " Wheeler Winston Dixon called the film " superb " in his profile of de Hirsch, and in a later article, wrote, " This transcendent and ambitious narrative film is only one example of early Feminist cinema that led to the later work of Yvonne Rainer, Jane Campion, Sally Potter, Julie Dash and others . " Gwendolyn Audrey Foster called it " mesmerizing " and " a visual feast of experimentation " in her book on women film directors, and compared its visual effects to those of MTV.
• Books about little-known women filmmakers, such as : * Gwendolyn Audrey Foster, Women Film Directors : An International Bio-Critical Dictionary ( Westport, CT : Greenwood Press, 1995 ) * Gwendolyn Audrey Foster, Women Filmmakers of the African and Asian Diaspora ( Carbondale, IL : Southern Illinois University Press, 1997 ) * Barbara Quart, Women Directors : The Emergence of a New Cinema ( New York : Praeger, 1988 ) * Janis L . Pallister and Ruth A . Hottell, Noteworthy Francophone Women Directors : A Sequel ( Madison, NJ : Fairleigh Dickinson University Press, 2011 ) * Gabrielle Kelly and Cheryl Robson, Celluloid Ceiling : Women Directors Breaking Through ( Twickenham : Supernova Books, 2014 ) * Patricia White, Women's Cinema, World Cinema : Projecting Contemporary Feminisms ( Durham : Duke University Press, 2015 ) * Mary G . Hurd, Women Directors and Their Films ( Westport, CT : Praeger, 2007 ) * Judith M . Redding and Victoria A . Brownworth, * Film Fatales : Independent Women Directors ( ( Seattle : Seal Press, 1997 ) And more!
• Books about little-known women filmmakers, such as : * Gwendolyn Audrey Foster, Women Film Directors : An International Bio-Critical Dictionary ( Westport, CT : Greenwood Press, 1995 ) * Gwendolyn Audrey Foster, Women Filmmakers of the African and Asian Diaspora ( Carbondale, IL : Southern Illinois University Press, 1997 ) * Barbara Quart, Women Directors : The Emergence of a New Cinema ( New York : Praeger, 1988 ) * Janis L . Pallister and Ruth A . Hottell, Noteworthy Francophone Women Directors : A Sequel ( Madison, NJ : Fairleigh Dickinson University Press, 2011 ) * Gabrielle Kelly and Cheryl Robson, Celluloid Ceiling : Women Directors Breaking Through ( Twickenham : Supernova Books, 2014 ) * Patricia White, Women's Cinema, World Cinema : Projecting Contemporary Feminisms ( Durham : Duke University Press, 2015 ) * Mary G . Hurd, Women Directors and Their Films ( Westport, CT : Praeger, 2007 ) * Judith M . Redding and Victoria A . Brownworth, * Film Fatales : Independent Women Directors ( ( Seattle : Seal Press, 1997 ) And more!