標(biāo)題: Titlebook: Watching Sympathetic Perpetrators on Italian Television; Gomorrah and Beyond Dana Renga Book 2019 The Editor(s) (if applicable) and The Aut [打印本頁(yè)] 作者: 正當(dāng)理由 時(shí)間: 2025-3-21 17:50
書目名稱Watching Sympathetic Perpetrators on Italian Television影響因子(影響力)
書目名稱Watching Sympathetic Perpetrators on Italian Television影響因子(影響力)學(xué)科排名
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書目名稱Watching Sympathetic Perpetrators on Italian Television網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Watching Sympathetic Perpetrators on Italian Television被引頻次
書目名稱Watching Sympathetic Perpetrators on Italian Television被引頻次學(xué)科排名
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書目名稱Watching Sympathetic Perpetrators on Italian Television年度引用學(xué)科排名
書目名稱Watching Sympathetic Perpetrators on Italian Television讀者反饋
書目名稱Watching Sympathetic Perpetrators on Italian Television讀者反饋學(xué)科排名
作者: cliche 時(shí)間: 2025-3-21 21:39 作者: 創(chuàng)作 時(shí)間: 2025-3-22 01:06 作者: 嫌惡 時(shí)間: 2025-3-22 05:42 作者: 笨拙的你 時(shí)間: 2025-3-22 11:57 作者: Perennial長(zhǎng)期的 時(shí)間: 2025-3-22 16:15 作者: NAUT 時(shí)間: 2025-3-22 21:05 作者: AND 時(shí)間: 2025-3-22 22:28 作者: bacteria 時(shí)間: 2025-3-23 02:49 作者: 向宇宙 時(shí)間: 2025-3-23 06:03 作者: Instantaneous 時(shí)間: 2025-3-23 10:38
Dana Rengard das Workflow-Management-System MOBILE genau beschrieben. An den Grundlagen, die für den organisatorischen Aspekt angeführt werden k?nnen, kann die oberfl?chliche Betrachtungsweise des organisatorischen Aspekts auch nicht begründet werden. Kapitel 4 erarbeitet Grundlagen aus den Gebieten Organisat作者: abolish 時(shí)間: 2025-3-23 17:33 作者: ANTIC 時(shí)間: 2025-3-23 18:24 作者: facilitate 時(shí)間: 2025-3-24 01:40 作者: Pastry 時(shí)間: 2025-3-24 03:55
Dana Rengahiede der vier an der Systemgestaltung beteiligten Gruppen besonders interessieren, werden — soweit m?glich — in den Tabellen die Antworten der einzelnen Probandengruppen gesondert ausgewiesen. Hierdurch entstehen bivariate (zweidimensionale) Tabellen, deren Verteilung sowohl durch Assoziationsma?e 作者: Lime石灰 時(shí)間: 2025-3-24 06:54
Dana Renga k?nnte. Die Tuning-Aktivit?ten sollten sich nicht auf “klein-klein-Modifikationen” beschr?nken. Angeregt wurde von der Gesch?ftsleitung, vor allem die Organisation zu überprüfen, da man hier die gr??ten Rationalisierungspotentiale vermutete. Tuning war in diesem Falle pr?ventives, kein reaktives (k作者: Humble 時(shí)間: 2025-3-24 13:53 作者: nauseate 時(shí)間: 2025-3-24 18:52
,Rai: “Educate While Entertaining—Entertain While Educating” in ,, “Niente di personale,” and ,nsideration of viewer allegiance and sympathy in Rai programs; 2) the episode “Niente di personale” (“Nothing Personal,” Ivano De Matteo, 2010) from the noir crime series . (., 2006–2010), the only program treated in this book that has a focus on a sympathetic perpetrator with ties to the?’ndranghet作者: 細(xì)節(jié) 時(shí)間: 2025-3-24 22:50 作者: 黃油沒有 時(shí)間: 2025-3-25 02:44
,Sky’s Offer You Can’t Refuse and ,’s Criminal Payoffs, found on sites such as YouTube and Daily Motion that show photographs of historical Banda members and stills from the series. To what extent, this chapter asks, might the remediated videos stand as counterexamples to the ideals of a culture of legality in that they might create sympathy for histori作者: 干旱 時(shí)間: 2025-3-25 06:40 作者: 冬眠 時(shí)間: 2025-3-25 11:24 作者: 事情 時(shí)間: 2025-3-25 12:18 作者: 新字 時(shí)間: 2025-3-25 19:37
,#ciaonetflix: , as “International Patrimony”,ing attention to the series’ interesting marketing strategy that draws attention to fictional/historical consistencies, before addressing the physical allure and charisma of criminal antiheroes. .’s singularity as a transnational co-production allows for a unique representation of gender and sexuali作者: isotope 時(shí)間: 2025-3-25 21:35 作者: Frisky 時(shí)間: 2025-3-26 02:03 作者: 銼屑 時(shí)間: 2025-3-26 06:34 作者: sebaceous-gland 時(shí)間: 2025-3-26 11:57 作者: chiropractor 時(shí)間: 2025-3-26 14:59 作者: Affirm 時(shí)間: 2025-3-26 20:09
Watching Sympathetic Perpetrators on Italian TelevisionGomorrah and Beyond作者: 隼鷹 時(shí)間: 2025-3-26 23:40
Watching Sympathetic Perpetrators on Italian Television978-3-030-11503-6作者: Callus 時(shí)間: 2025-3-27 02:57 作者: LIMIT 時(shí)間: 2025-3-27 06:37 作者: 彩色的蠟筆 時(shí)間: 2025-3-27 12:31
, and ,’s Difficult Masculinities,and Rome. Performing bodies, political bodies, frail bodies, queer bodies, abject bodies, and spectral bodies populate the series and point toward the difficult masculinities that helped construct 1992 and 1993s complex political and entertainment landscape.作者: 認(rèn)識(shí) 時(shí)間: 2025-3-27 14:07 作者: locus-ceruleus 時(shí)間: 2025-3-27 20:42 作者: Gorilla 時(shí)間: 2025-3-27 22:13 作者: 地牢 時(shí)間: 2025-3-28 04:37 作者: 走路左晃右晃 時(shí)間: 2025-3-28 06:52 作者: Fissure 時(shí)間: 2025-3-28 10:35 作者: 羊欄 時(shí)間: 2025-3-28 17:27
,Sky’s Offer You Can’t Refuse and ,’s Criminal Payoffs,model, Sky shows are, for the most part, in line with series dubbed as “quality television.” This chapter lays out the features of the Sky model which are familiar to American series such as ., ., ., or .. However, Sky series depart from the American model in their focus on actual crime networks tha作者: 哪有黃油 時(shí)間: 2025-3-28 21:53
,Rai: “Educate While Entertaining—Entertain While Educating” in ,, “Niente di personale,” and ,gical and homogenizing entertainment mission. Of all of the Italian networks, Rai is considered the most traditional in its production of mainstream, identifiable fiction. Rai series and miniseries that focus on the mafia also focus on the hero who combats the mafia, and tend to depict criminals as 作者: 財(cái)產(chǎn) 時(shí)間: 2025-3-29 01:44 作者: 期滿 時(shí)間: 2025-3-29 04:26
,Mediaset’s Middlebrow Model: ,, ,, ,, and , The chapter outlines the perpetrator template common to Mediaset programming: Sympathetic perpetrators are conventionally attractive, and women easily fall under their spell, Mediaset men are crafty and are pitted against someone on the “right” side of the law, and this homosocial rivalry drives th作者: 聯(lián)邦 時(shí)間: 2025-3-29 07:30 作者: 外來(lái) 時(shí)間: 2025-3-29 13:52 作者: 憤慨一下 時(shí)間: 2025-3-29 17:33 作者: RAGE 時(shí)間: 2025-3-29 20:33
,#ciaonetflix: , as “International Patrimony”, strategy, personalized platforms, and transnational drawing power. It puts forward that, to hook and retain Italian clients, Netflix turned toward a local-content model that has worked well for Sky, i.e., producing a factually based criminal sagas told principally from the perspective of attractive作者: rectum 時(shí)間: 2025-3-30 03:38 作者: Herbivorous 時(shí)間: 2025-3-30 05:28 作者: LIMN 時(shí)間: 2025-3-30 11:45
, and ,’s Difficult Masculinities, scandals, Operation “Mani pulite” or “Clean Hands,” and Silvio Berlusconi’s rise to political power. It examines how a series of traumas, losses, and maladies renders male protagonists sympathetic, an operation traditionally at work in male melodrama wherein male protagonists are celebrated, their 作者: doxazosin 時(shí)間: 2025-3-30 13:18 作者: apiary 時(shí)間: 2025-3-30 17:55
,#ciaonetflix: , as “International Patrimony”, strategy, personalized platforms, and transnational drawing power. It puts forward that, to hook and retain Italian clients, Netflix turned toward a local-content model that has worked well for Sky, i.e., producing a factually based criminal sagas told principally from the perspective of attractive作者: Hallowed 時(shí)間: 2025-3-30 20:46
Conclusions: , and Italian Television Abroad,strategy, and alignment with the buddy film. It pays close attention to spoilers, exploring the author’s position as a viewer who has watched the series knowing how it would end—an important question considering the global popularity of . and the shifting viewing practices of millions of fans who do作者: wall-stress 時(shí)間: 2025-3-31 03:01
Book 2019ception theory, and masculinity studies,?.Sympathetic Perpetrators and their Audiences on Italian Television.?examines how and why viewers are positioned to engage emotionally with—and root for—Italian television antiheroes. Italy’s most popular exported series feature alluring and attractive crimin作者: hermetic 時(shí)間: 2025-3-31 05:50 作者: 喚醒 時(shí)間: 2025-3-31 11:25
Making Men in , and ,ul male bodies, and, as protagonists’ bodies transform—through aging and affliction, through buffing up—power and charisma shift between men. This chapter investigates the gender power dynamics at work in the series’ first two seasons and pays attention to how women and men are made (and undone) in the eyes of the viewer.
