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hi mom (How have filmmakers and artists responded to breaking the…
hi mom
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?
How have filmmakers and artists responded to breaking the conventions of
narrative and psychological identification normalized by mainstream cinema and TV?
Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of
Verfremdungseffekt – “making strange”) still have a currency today?