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Relevant bibliographies by topics / Classic Konica Camera Guide

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Academic literature on the topic 'Classic Konica Camera Guide'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Classic Konica Camera Guide"

1

Fuller, Glen. "The Getaway." M/C Journal 8, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2454.

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   From an interview with “Mr A”, executive producer and co-creator of the Getaway in Stockholm (GiS) films:  Mr A: Yeah, when I tell my girlfriend, ‘You should watch this, it’s good, it’s a classic, it’s an old movie’ and she thinks it’s, like, the worst. And when I actually look at it and it is the worst, it is just a car chase … [Laughs] But you have to look a lot harder, to how it is filmed, you have to learn … Because, you can’t watch car racing for instance, because they are lousy at filming; you get no sensation of speed. If you watch the World Rally Champi

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2

Schlotterbeck, Jesse. "Non-Urban Noirs: Rural Space in Moonrise, On Dangerous Ground, Thieves’ Highway, and They Live by Night." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.69.

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Despite the now-traditional tendency of noir scholarship to call attention to the retrospective and constructed nature of this genre— James Naremore argues that film noir is best regarded as a “mythology”— one feature that has rarely come under question is its association with the city (2). Despite the existence of numerous rural noirs, the depiction of urban space is associated with this genre more consistently than any other element. Even in critical accounts that attempt to deconstruct the solidity of the noir genre, the city is left as an implicit inclusion, and the country, an implict exc

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3

Poletti, Anna, and Julie Rak. "“We’re All Born Naked and the Rest Is” Mediation: Drag as Automediality." M/C Journal 21, no. 2 (2018). http://dx.doi.org/10.5204/mcj.1387.

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This essay originates out of our shared interest in genres and media forms used for identity practices that do not cohere into a narrative or a fixed representation of who someone is. It takes the current heightened visibility of drag as a mode of performance that explicitly engages with identity as a product materialized—but not completed—by the ongoing process of performance. We consider the new drag, which we define below, as a form of playing with identity that combines bodily practices (comportment and use of voice) and adornment (make-up, clothing, wigs, and accessories) with an array of

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4

Harley, Ross. "Light-Air-Portals: Visual Notes on Differential Mobility." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.132.

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0. IntroductionIf we follow the line of much literature surrounding airports and urban mobility, the emphasis often falls on the fact that these spaces are designed to handle the mega-scale and super-human pace of mass transit. Airports have rightly been associated with velocity, as zones of rapid movement managed by enormous processing systems that guide bodies and things in transit (Pascoe; Pearman; Koolhaas; Gordon; Fuller & Harley). Yet this emphasis tends to ignore the spectrum of tempos and flows that are at play in airport terminals — from stillness to the much exalted hyper-rapidit

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Books on the topic "Classic Konica Camera Guide"

1

Classic Camera: First Time Collector's Guide. Book Sales, 1994.

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2

Minolta Maxxum 600Si (Magic Lantern Guide - Classic Camera Series). Sterling Pub Co Inc, 1996.

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Book chapters on the topic "Classic Konica Camera Guide"

1

"Basic Training: The Nine Classic Camera Moves." In The Videomaker Guide to Video Production. Routledge, 2013. http://dx.doi.org/10.4324/9780240824673-42.

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