Afterimage moves from the southern to northern Plains and the eastern Midwest, where the natural world calls out through deep lakes and dark woods, and finally through transient moments framed by gardens: a butterfly nectaring on a coneflower, planting lavender with his future wife, or autumn leaves crashing against a morning window. In a rich array of forms and evocative imagery, the poems in Afterimage reach through prairie history until grass becomes skin, and light becomes shadow.
OTHER BOOKS BY KATHLEEN GEORGE FICTION FALLEN TAKEN THE MAN IN THE BUICK ( STORIES ) NON FICTION RHYTHM IN DRAMA PLAYWRITING : THE FIRST WORKSHOP WINTER'S TALES : REFLECTIONS ON THE NOVELISTIC STAGE AFTER IMAGE KATHLEEN GEORGE THOMAS ...
The mass media make it possible for fame to be enhanced and transformed posthumously. What does it mean to fans when a celebrity dies, and how can death change the way that celebrities are perceived and celebrated?
Poetry. " In the elegant formulations of her second collection, THE AFTERIMAGE, Phillis Levin explores the gaps and forges the links between language, thought, and matter. She is an 'alchemist...
... quotation importance 173 The Darker Side of Black 220–21 Fantôme Afrique 213 Fantome Créole 222 Frantz Fanon: Black Skin, White Mask 213 Kapital 213 Looking for Langston 212–13 mise en scène use 173–4 multiple screen use 175–6 Paradise.
The appearance of Alain Resnais' 1955 French documentary Night and Fog heralded the beginning of a new form of cinema, one that used the narrative techniques of modernism to provoke...
For whatever reason, the movie afterimages were concentrating on vampire and Slayer, and not on their little friend. They were making progress. It was slow, hard work, but the distance between them and their goal dwindled gradually.
History's Afterimages What might this classic scene of phenomenological incorporation have to do with colonial representations? How does colonial history enable us to re— consider the phenomenology of the photographic image?
Afterimage
The book also explores the drawing as a residual object in works in which the process of making dictates the form of the drawing.
"Blake, a noted film critic, reveals a Catholic imagination at work in the films of Martin Scorsese, Alfred Hitchcock, Frank Capra, John Ford, Francis Ford Coppola, and Brian De Palma....