hyperkino造句

例句与造句

1. Hyperkino editions emphasize the importance of incorporating different versions of the film.
2. The Hyperkino  footnotes quote from interviews with Kuleshov and Viktor Shklovsky.
3. And, above all, they have the advantage of hybridity, which is why the Hyperkino notes are more than just a book on screen . 
4. In 2011 film critic and media scholar Joachim Sch鋞z called the Hyperkino publication of the Kuleshov debut a " mediated revolution " (  vermittelte Revolution ) and Hyperkino " one of the most exciting forms of reflection on film one can experience today ."
5. In 2011 film critic and media scholar Joachim Sch鋞z called the Hyperkino publication of the Kuleshov debut a " mediated revolution " (  vermittelte Revolution ) and Hyperkino " one of the most exciting forms of reflection on film one can experience today ."
6. It's difficult to find hyperkino in a sentence. 用hyperkino造句挺难的
7. In defense of a nonlinear film criticism " Jonathan Rosenbaum describes Hyperkino as " a hybrid form existing somewhere between reading and watching, like various computer-related activities is part of what seems forward-looking about them [ & ] What all these forms of criticism suggest is not merely a less linear way of approaching film experience but also a more interactive methodology.
8. Digital humanities scholar Christian Gosvig Olesen stresses the importance of the analytical and theoretical phase preceding practical steps towards developing and designing the Hyperkino method :  In 2006 Drubek and Izvolov penned an article together that formulated this vision, Critical Editions of Films on Digital Formats, which was published in the eighth edition of the international film studies review Cinema & Cie . in the fall of 2006 . 
9. Julian Graffy discusses Hyperkino from the perspective of the  commentarist :  Engaging with the Hyperkino commentaries leads to thoughts about the fundamental differences between a spoken commentary, the only version most viewers will so far have encountered, and the ( predominantly written ) Hyperkino approach .  Graffy mentions the time factor which challenged the performance of audio commentators :  bottlenecks, where too much is happening at once for you to cover all you want to say; and longueurs, where you wonder how to fill the space, or worry about extended periods of silence . [ & ] None of these problems exists, of course, for the Hyperkino commentarist  he or she is not time-bound, and the notes can be as short or as long as required.
10. Julian Graffy discusses Hyperkino from the perspective of the  commentarist :  Engaging with the Hyperkino commentaries leads to thoughts about the fundamental differences between a spoken commentary, the only version most viewers will so far have encountered, and the ( predominantly written ) Hyperkino approach .  Graffy mentions the time factor which challenged the performance of audio commentators :  bottlenecks, where too much is happening at once for you to cover all you want to say; and longueurs, where you wonder how to fill the space, or worry about extended periods of silence . [ & ] None of these problems exists, of course, for the Hyperkino commentarist  he or she is not time-bound, and the notes can be as short or as long as required.
11. Julian Graffy discusses Hyperkino from the perspective of the  commentarist :  Engaging with the Hyperkino commentaries leads to thoughts about the fundamental differences between a spoken commentary, the only version most viewers will so far have encountered, and the ( predominantly written ) Hyperkino approach .  Graffy mentions the time factor which challenged the performance of audio commentators :  bottlenecks, where too much is happening at once for you to cover all you want to say; and longueurs, where you wonder how to fill the space, or worry about extended periods of silence . [ & ] None of these problems exists, of course, for the Hyperkino commentarist  he or she is not time-bound, and the notes can be as short or as long as required.
12. Julian Graffy discusses Hyperkino from the perspective of the  commentarist :  Engaging with the Hyperkino commentaries leads to thoughts about the fundamental differences between a spoken commentary, the only version most viewers will so far have encountered, and the ( predominantly written ) Hyperkino approach .  Graffy mentions the time factor which challenged the performance of audio commentators :  bottlenecks, where too much is happening at once for you to cover all you want to say; and longueurs, where you wonder how to fill the space, or worry about extended periods of silence . [ & ] None of these problems exists, of course, for the Hyperkino commentarist  he or she is not time-bound, and the notes can be as short or as long as required.