Thematische Bibliographien / Postcards in fiction

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Auswahl der wissenschaftlichen Literatur zum Thema „Postcards in fiction“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 29. Juli 2025

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Zeitschriftenartikel zum Thema "Postcards in fiction"

Bluher, Dominique. "Varda's Gift of Postcards." Área Abierta 19, no. 3 (2019): 287–306. http://dx.doi.org/10.5209/arab.62913.

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Postcards are prominent throughout Varda’s oeuvre and she has displayed parts of her postcard collections on several occasions in her films and video installations. Her movie in which postcards play the most important narrative role is One Sings, the Other Doesn’t (1976). As researchers in the field of postcard studies have pointed out, postcards are not only a means of communication, but also a sign of life or a confirmation of friendship, as well as a souvenir or a gift. The objective of this article is to reflect on how the self-contained episodes in some of Varda’s later non-fiction films,

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Miller, Kristin. "Postcards from the future." Boom 3, no. 4 (2013): 12–26. http://dx.doi.org/10.1525/boom.2013.3.4.12.

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This article contemplates the way Northern and Southern California have been used in science fiction films since the 1970s. Continuing a trend the author traces to the 1940s novels Earth Abides and Ape and Essence, Northern California represents possible utopian futures while Southern California represents dystopia. The article includes a photo essay featuring science fiction film stills held up against their filming locations in Los Angeles and the Bay Area.

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Bukatman, Scott. "Postcards from the Posthuman Solar System." Science Fiction Studies 18, Part 3 (1991): 343–57. https://doi.org/10.1525/sfs.18.3.343.

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At the intersection of cybernetics and phenomenology, the body already operates as an interface between mind and experience, but in contemporary science fiction and horror, the body is also narrated as a site of exploration and transfiguration through which an interface with an electronically-based postmodern experience is inscribed. The obsessive restaging of the refiguration of the body posits a constant redefinition of the subject through the multiple superimposition of bio-technological apparatuses. In this epoch of human obsolescence, however, a remarkably consistent imaging/imagining of

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Browarny, Wojciech. "„Kartki” Tadeusza Różewicza." Konteksty Kultury 18, no. 2 (2021): 259–75. http://dx.doi.org/10.4467/23531991kk.21.018.13696.

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Artykuł „Kartki” Tadeusza Różewicza opisuje prozę pisarza z perspektywy „kartek” jako formuły kompozycyjno-warsztatowej, związanej jednak ściśle z jego praktyką autobiograficzną. Autor artykułu śledzi obecność i przemiany „kartek” w utworach fabularnych Tadeusza Różewicza, ale przede wszystkim w jego mniej znanych dziełach: dzienniku, reportażach podróżniczych, szkicach wspomnieniowych i metaliterackich. Celem artykułu nie jest udowodnienie, że „kartki” występują w pisarstwie Różewicza od momentu jego debiutu do okresu dojrzałej twórczości, gdy nawet jej pobieżny przegląd potwierdza tę oczywis

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Pappas, G. "Postcards from the edge: SARS-CoV-2 pandemic narratives in fiction film and documentaries." ACTA MICROBIOLOGICA HELLENICA 67, no. 2 (2022): 79–86. https://doi.org/10.5281/zenodo.10077481.

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Public perception about infectious diseases, science, and public health policies can be affected by exposure to related works of art, including film, and may modify one's actions during a pandemic. An increasing number of fiction films and documentaries are inspired from the SARS-CoV-2 pandemic. Major narratives include: the inadequate early response of governments and international organizations, the heroic actions of healthcare practitioners, the social effect of lockdown (both as a spirit-raising inducer of togetherness and as a disproportionately harsh burden on minorities and underprivile

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Blom, Ivo. "Picturesque Pictures: Italian Early Non-fiction Films within Modern Aesthetic Visions." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (2021): 49–65. http://dx.doi.org/10.2478/ausfm-2021-0004.

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Abstract Within early non-fiction film, the Italian travel or scenic films of the 1910s may be considered the most picturesque. They are remarkable for their presentation of landscapes and cityscapes, their co-existence of modernity and nostalgia, their accent on beauty – at times at the expense of geographic veracity and indexicality – and their focus on the transformed gaze through the use of special masks, split-screens, and other devices. The transmedial roots for this aestheticization can be found both in art (painting) and popular culture (postcards, magic lanterns, etc.). While the auth

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Andraș, Sonia D. "FASHION, CINEMA, AND GERMAN-AMERICAN PROPAGANDA IN 1930s BUCHAREST." ANUARUL INSTITUTULUI DE CERCETĂRI SOCIO-UMANE „GHEORGHE ŞINCAI” 25 (April 1, 2022): 211–35. http://dx.doi.org/10.59277/icsugh.sincai.25.16.

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This paper explores how Bucharest’s cinema-going public perceived the Nazi influence on Hollywood in the 1930s. The aim is to identify how Nazi propaganda was disseminated and consumed in interwar Bucharest and its similarities to the idea of glamour, relevant both to fashion and cinema. Considering the links between Goebbels’ propaganda machine and certain entities or individuals in Hollywood, US cinematography becomes a more complex medium of dissemination beyond a mere promoter of modernity’s technological and consumerist ideas. Romania’s situation in the 1930s, especially the increasing le

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Zvereva, Galina I. "COLLECTIVE MEMORY OF THE SOVIET PAST ON YOUTUBE: TECHNIQUES FOR AUDIOVISUAL CONSTRUCTION BY ORDINARY VIDEO BLOGGERS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 133–47. http://dx.doi.org/10.28995/2686-7249-2020-8-133-147.

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The YouTube platform hosts a multitude of video clips that contain various media representations of the collective memory of Soviet history. In this array of multimedia products, videos created by ordinary bloggers take their own place. Videos with themes about the recent Past are formed on the basis of digitized fragments of documentary and fiction films, photographs, posters, postcards, drawings, etc. Verbal comments of viewers-users to videos expand and change their semantic content. The purpose of the article is to reveal in the videos of ordinary bloggers various techniques for audiovisua

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Bevel, Felicia. "Traveling Topsy: Uncle Tom's Cabin and Representations of Aboriginal Australian Children in Twentieth-Century Australia." Mississippi Quarterly 76, no. 4 (2024): 481–509. https://doi.org/10.1353/mss.2024.a953238.

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ABSTRACT: This article examines the circulation of Topsy from Harriet Beecher Stowe's Uncle Tom's Cabin in Australian popular culture during the early-to-mid twentieth century. From playing with Topsy dolls to watching white actresses impersonating Topsy on stage, white Australians of all ages engaged with various iterations of Topsy and attached new meaning to the fictional character. Drawing from newspaper articles, photographs, postcards, and other archival material, I argue that white Australians used Topsy to make sense of Aboriginal children within the larger settler colonial context of

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Zheltikova, Inga V. "Conservative Elements in the Artistic Images of the Future of Russia." Almanac “Essays on Conservatism” 64 (June 30, 2021): 311–21. http://dx.doi.org/10.24030/24092517-2021-0-2-311-321.

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The concept of future is an integral part of the present of any culture. The focus of this article is how strongly the expectation of the future is associated with innovations, what is the meaning of the conservative features present in the images of future, which conservative elements are thought to be part of the images of future. The author analyzes the images of the future of Russia on the basis of such material as fictional prose, postcards and films of the last two centuries, and identifies several parameters of life, which are transferred into the future from the present and even from t

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Dissertationen zum Thema "Postcards in fiction"

Strasen, Christian T. "A Postcard From the Future| Technology, Desire, and Myth in Contemporary Science Fiction." Thesis, Southern Illinois University at Edwardsville, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10013970.

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<p> This thesis argues that modern, post-apocalyptic science fiction functions as a projected analysis of the author’s contemporary world. This insight is used to chart the historical trajectory of the spread of automaticity, the reduction of objects, and the loss of historical memory. The Introduction introduces readers to both the literary and critical histories of science fiction, contextualizing the worlds that George R. Stewart, Ursula K. Le Guin, and Margaret Atwood write in. Chapter One analyzes George R. Stewart’s 1949 novel Earth Abides, using it to demonstrate how the gro

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Bücher zum Thema "Postcards in fiction"

Proulx, Annie. Postcards. Howes, 2002.

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Proulx, Annie. Postcards. Collier Books, 1993.

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Proulx, Annie. Postcards. Scribner, 1994.

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Rodriguez, Jason. Postcards. Random House Publishing Group, 2009.

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Garner, Helen. Postcards from surfers. Bloomsbury, 1990.

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Garner, Helen. Postcards from surfers. Penguin, 1996.

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Molete, Mokone. Postcards from Soweto. Jacana, 2007.

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Molete, Mokone. Postcards from Soweto. Jacana, 2007.

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Minden, Cecilia. Postcards from all over. The Child's World, 2009.

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Willett, Marcia. Postcards from the past. ISIS Large Print, 2014.

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Buchteile zum Thema "Postcards in fiction"

Francis, Donette. "Postcards of Occupation." In Fictions of Feminine Citizenship. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105775_3.

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Hallissy, Margaret. "“Picture Postcard Ireland”: Thomas Moran’s The World I Made for Her." In Reading Irish-American Fiction. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403983275_5.

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Booth, Allyson. "Physical Borders." In Postcards From The Trenches. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195102116.003.0004.

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Abstract I have previously argued that both official British discourse and British popular sentiment articulated Germany’s invasion of Belgium and its air raids on England as a violation of the proper spatial organization of war: civilians, according to this English view, were supposed to occupy safe havens, soldiers were supposed to occupy war zones, and the two kinds of space were not supposed to intersect. Thus Germany’s invasion of a neutral country and its shelling of British civilian targets were both condemned as transgressions of this spatial organization, but it was the “rape of Belgi

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Hilliard, Christopher. "Protecting Literature, Suppressing Pulp." In A Matter of Obscenity. Princeton University Press, 2021. http://dx.doi.org/10.23943/princeton/9780691197982.003.0004.

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This chapter focuses on protecting literature by suppressing pulp. After the war, the police, courts, and Customs contended with a growing market for pornographic magazines and dirty postcards, and with the moral threat presented by American pulp. A new generation of comic books from the United States resulted in new powers to confiscate printed matter, and American gangster fiction and knockoffs by British writers were subjected to serial prosecutions. The new regulations were put on hold when the government went into caretaker mode for the 1945 general election. The chapter also expounds on

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Gonzaga, Elmo. "Between Spaces of Imperial Languor." In Monsoon Marketplace. Fordham University Press, 2023. http://dx.doi.org/10.5422/fordham/9781531505271.003.0003.

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Chapter 2 focuses on the print, spatial, and visual cultures of expatriate life in W. Somerset Maugham’s short fiction set in Singapore and Malaya before the Pacific War. It starts by discussing its representation of the multiplicity and dynamism of a multiracial and multilinguistic tropical entrepôt, which the British colonial administration struggled to govern and domesticate. This chapter examines its portrayal of white male officials consuming old newspapers from the metropole in bungalow verandahs to overcome their languor and impotency. Analyzing monumental architecture in the prominent

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Duperré, Jorge Luis, and Pedro Lisdero. "Reincarnating in the Age of the Algorithm." In AI and Emotions in Digital Society. IGI Global, 2023. http://dx.doi.org/10.4018/979-8-3693-0802-8.ch010.

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This chapter delves into the emergence of sensibilities surrounding death, driven by recent technological advancements in the field of artificial intelligence. The primary focus lies in the realm of emotions and bodies connected to the digital recreation of the deceased. To accomplish this, it employs virtual ethnography principles to scrutinize visual components within both fictional contexts, such as series and films addressing this phenomenon, and non-fictional domains, including emerging interactive devices and platforms related to 'death'. Drawing from the foundations of sociology of emot

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Dawson, Ian, and Paul Reilly. "Metalithic Postcards During the Pandemic." In Robotic Vision and Virtual Interfacing. Edinburgh University Press, 2024. https://doi.org/10.3366/edinburgh/9781399523424.003.0013.

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Andrea Fraser’s impersonation of a persuasive gallery docent, Jane Castleton, and her careful thinking around the performative, documentarian and historiographic aspects of Institutional Critique, inform this iteration of an ongoing counter-archival project called the Dramaco Instruments Company. This text is a script for a performance-lecture delivered at the Robot Futures symposium in Spring 2017 at the Science Museum, London. It is part of an ongoing work that adds to the activities of a fictive and plausible technology manufacturing company that has, in the past ten years, branched into th

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Coca, Beatriz. "Reconstruction identitaire dans La carte postale d’Anne Berest)." In Le droit à la ressemblance: L'impensé de l'assimilation identitaire dans les littératures migrantes en français. FLUP-ILC, 2024. http://dx.doi.org/10.21747/978-989-35462-2-2/lib35a2.

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In her novel The Postcard, Anne Berest proposes the reconstruction of the identity of her maternal ancestors, the Rabinovitchs. The pretext which relaunches this search for identity and its fictionalization is none other than an anonymous postcard received in 2003 in his parents’ home. This card presents the image of the Opera and on the back are written four first names: Ephraïm, Emma, Noémie, Jacques, who died at Auschwitz in 1942. In 2019, Anne Berest and her mother set out to elucidate the questions surrounding this postcard; the investigation required by the fictionalization of biographic

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"III. Reading of visual images and postcard descriptions in Claude Simon's Histoire." In Foregrounded Description in Prose Fictio. University of Toronto Press, 1995. http://dx.doi.org/10.3138/9781442623248-006.

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Gelencsér, Gábor. "The Experimentalism of Gábor Bódy." In Experimental Cinemas in State-Socialist Eastern Europe. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789462982994_ch01.

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This chapter frames the work of Gábor Bódy within Hungarian avantgarde cinema. It connects Bódy’s output to László Moholy-Nagy’s films via intersecting modes of formal experimentation and social critique, a duality that regularly appears in late socialist Hungarian experimental cinema. It then highlights linkages between the film cultural activities of Lajos Kassák, the editor of the interwar journal MA, and Bódy’s function as an overall organizer of interdisciplinary film culture at the Balázs Béla Studio some fifty years later. Finally, it turns to Bódy’s feature films American Postcard, Nar

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