Live images Bojesen, Bo (1923-2006) bladtegner
1975.04.25
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Odprti dostop
- Something psychological? Nude, it’s because the king’s bailiff is running with our colour television.
Cinema hall with thriller on the canvas. A man asks the cinema goers why they go to the cinema ...more now than before. He expects the answer to be psychological, but the man replies that it is because they can no longer afford their TV.
- Noget psykologisk? Næ, det er sgu fordi kongens foged er rendt med vores farvefjernsyn.
Man undersøger nu, hvorfor biografbesøget er stigende i økonomiske nedgangstider.
Biografsal med thriller på lærredet. En mand spørger biografgængerne hvorfor de går mere i biografen nu end tidligere. Han regner med at svaret er af psykologisk karakter, men manden svarer at det er fordi de ikke længere har råd til deres tv.
- Noget psykologisk? Næ, det er sgu fordi kongens foged er rendt med vores farvefjernsyn.
Man undersøger nu, hvorfor biografbesøget er stigende i økonomiske nedgangstider.
Biografsal med thriller på lærredet. En mand spørger biografgængerne hvorfor de går mere i biografen nu end tidligere. Han regner med at svaret er af psykologisk karakter, men manden svarer at det er fordi de ikke længere har råd til deres tv.
Tusch Dagens Tegning 1975
GRAHAM GREENE famously divided his novels into "entertainments" and "serious works." His thrillers, such as "The Orient Express" and "This Gun for Hire," belonged in the first category. Writing them ...gave Greene a release from his "depressive self," he noted, "for melodrama as much as farce is an expression of a manic mood." A self-professed "middlebrow" and "yellow-dog Democrat," Mr. Patrick Anderson attacks Tom Clancy as a "jingoistic" Reaganite writing books that "helped popularize the notion that war is easy." (Most readers of Mr. Clancy's dense techno-prose may feel that war has never been so hard.) He approvingly notes that crime writer Sarah Paretsky produces "the most unabashedly liberal novels of any major American novelist in memory." Paretsky does lean left, but there are other, rather better- known, novelists with more political "commitment," from Kurt Vonnegut and E.L. Doctorow to Margaret Atwood and Barbara Kingsolver.
ES PACIENTE 37 es un Thriller psicológico sobre un doctor que trata de guiar a su paciente (Mario) a lo más profundo de su subconsciente para averiguar los detalles de un crimen cometido hace ...décadas. A través de su psicosis revivirá su pasado y la verdadera naturaleza del crimen.
EN PATIENT 37 is a psychological Thriller about a doctor who tries to guide his patient (Mario) to the depths of his subconscious to find out the details of a crime committed decades ago. Through his psychosis he will relive his past and the true nature of the crime.
EN PATIENT 37 is a psychological Thriller about a doctor who tries to guide his patient (Mario) to the depths of his subconscious to find out the details of a crime committed decades ago. Through his psychosis he will relive his past and the true nature of the crime.
ES PACIENTE 37 es un Thriller psicológico sobre un doctor que trata de guiar a su paciente (Mario) a lo más profundo de su subconsciente para averiguar los detalles de un crimen cometido hace décadas. A través de su psicosis revivirá su pasado y la verdadera naturaleza del crimen.
In the last years television fiction series have suffered a structural, narrative and aesthetic evolution, coming to be compared with the cinematographic quality or even surpassing it. The purpose of ...this work is to observe how this evolution has affected to the use of the narrative resource cliffhanger, in its definition, in its form and its use in the thriller series. For this, the study has been raised from a theoretical perspective, using reference bibliography, comparing and contrasting it; and from an empirical side, using examples of different serials of regard classifying them in a many subgenres within the thriller. Thanks to the consulted bibliography, the term cliffhanger has been specified, has been establish a general framework - inter-episodic, if its between chapters or seasons; and intra-episodic, if used within the chapter - to determine the functions of each partition depends on its location in the episode and has been analyzed which is the result obtained for each of them trough the examples of the series provided.
En los últimos años las series de ficción televisiva han sufrido una evolución estructural, narrativa y estética, llegando a compararse con la calidad cinematográfica o incluso superándola. El propósito de este trabajo es observar cómo esta evolución ha afectado al uso del recurso narrativo cliffhanger, en su definición, en su forma y en su uso en las series de suspense. Para ello, el estudio se ha planteado desde una vertiente teórica, utilizando bibliografía de referencia, comparándola y contrastándola; y desde una vertiente empírica, empleando ejemplos de diferentes seriales de consideración clasificados en múltiples subgéneros dentro del suspense. Gracias a la bibliografía consultada, se ha concretado el término cliffhanger, se ha establecido una organización general - inter-episódico, si es entre capítulos o temporadas; e intra-episódico, si se utiliza dentro del capítulo - para determinar las funciones de cada partícula dependiendo de su ubicación dentro del episodio y se ha analizado cuál es el resultado obtenido para cada una de ellas mediante los ejemplos de los seriales aportados.
En los últimos años las series de ficción televisiva han sufrido una evolución estructural, narrativa y estética, llegando a compararse con la calidad cinematográfica o incluso superándola. El propósito de este trabajo es observar cómo esta evolución ha afectado al uso del recurso narrativo cliffhanger, en su definición, en su forma y en su uso en las series de suspense. Para ello, el estudio se ha planteado desde una vertiente teórica, utilizando bibliografía de referencia, comparándola y contrastándola; y desde una vertiente empírica, empleando ejemplos de diferentes seriales de consideración clasificados en múltiples subgéneros dentro del suspense. Gracias a la bibliografía consultada, se ha concretado el término cliffhanger, se ha establecido una organización general - inter-episódico, si es entre capítulos o temporadas; e intra-episódico, si se utiliza dentro del capítulo - para determinar las funciones de cada partícula dependiendo de su ubicación dentro del episodio y se ha analizado cuál es el resultado obtenido para cada una de ellas mediante los ejemplos de los seriales aportados.
In the last years television fiction series have suffered a structural, narrative and aesthetic evolution, coming to be compared with the cinematographic quality or even surpassing it. The purpose of this work is to observe how this evolution has affected to the use of the narrative resource cliffhanger, in its definition, in its form and its use in the thriller series. For this, the study has been raised from a theoretical perspective, using reference bibliography, comparing and contrasting it; and from an empirical side, using examples of different serials of regard classifying them in a many subgenres within the thriller. Thanks to the consulted bibliography, the term cliffhanger has been specified, has been establish a general framework - inter-episodic, if its between chapters or seasons; and intra-episodic, if used within the chapter - to determine the functions of each partition depends on its location in the episode and has been analyzed which is the result obtained for each of them trough the examples of the series provided.
Αλ Πατσίνο
Η καταπληκτική εποποιία ενός τίμιου αστυνομικού που έβαλε τη ζωή του σε κίνδυνο γιατί δεν ήθελε να εξαγορασθή κι' αγωνιζόταν εναντίον κάθε λογής παρανομίας!
