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Jenny Edkins

: Oxford University Press, 1985. 43 Chris Darke, ‘Desert of the Disappeared’. 44 Martin-Jones, ‘Archival Landscapes and a Non-Anthropocentric “Universe Memory”’, 707. 45 For a summary of this context, see Kaitlin M. Murphy, ‘Remembering in Ruins: Touching, Seeing and Feeling the Past in Nostalgia De La Luz/Nostalgia for the Light ([2010] 2011).’ Studies in Spanish & Latin American Cinemas 13, no. 3 (2016): 265–81. 46 Jacques Rancière, The Politics of Aesthetics: The Distribution of the Sensible. Translated by Gabriel Rockhill. London: Continuum, 2004: 63. 47 Ruiz

in Change and the politics of certainty
Open Access (free)
Religious influences on the depictions of science in mainstream movies
David A. Kirby and Amy C. Chambers

-web-only/interstellar.html. Masters, K. (2014). Rough seas on Noah: Darren Aronofsky opens up on the biblical battle to woo Christians (and everyone else). Hollywood Reporter, Playing God 299 21 February. Retrieved 20 March 2016 from: www.hollywoodreporter.com/ news/rough-seas-noah-darren-aronofsky-679315. NCOMP (1974). The Exorcist. Catholic Film Newsletter, 39(1), 2. Neale, S. (2005). ‘The last good time we ever had?’: Revising the Hollywood renaissance. In L. R. Williams and M. Hammond (eds), Contemporary American Cinema (pp. 90–108). Maidenhead: McGraw-Hill. Newport, F. (2009). On Darwin

in Science and the politics of openness