標(biāo)題: Titlebook: Aesthetics and Politics in the Mexican Film Industry; Misha MacLaird Book 2013 Palgrave Macmillan, a division of Nature America Inc. 2013 [打印本頁(yè)] 作者: TINGE 時(shí)間: 2025-3-21 18:43
書(shū)目名稱Aesthetics and Politics in the Mexican Film Industry影響因子(影響力)
書(shū)目名稱Aesthetics and Politics in the Mexican Film Industry影響因子(影響力)學(xué)科排名
書(shū)目名稱Aesthetics and Politics in the Mexican Film Industry網(wǎng)絡(luò)公開(kāi)度
書(shū)目名稱Aesthetics and Politics in the Mexican Film Industry網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱Aesthetics and Politics in the Mexican Film Industry被引頻次
書(shū)目名稱Aesthetics and Politics in the Mexican Film Industry被引頻次學(xué)科排名
書(shū)目名稱Aesthetics and Politics in the Mexican Film Industry年度引用
書(shū)目名稱Aesthetics and Politics in the Mexican Film Industry年度引用學(xué)科排名
書(shū)目名稱Aesthetics and Politics in the Mexican Film Industry讀者反饋
書(shū)目名稱Aesthetics and Politics in the Mexican Film Industry讀者反饋學(xué)科排名
作者: antecedence 時(shí)間: 2025-3-21 20:30
https://doi.org/10.1057/9781137319340aesthetics; cinema; culture; economy; film; market economy; methods; nationalism; Policy作者: paroxysm 時(shí)間: 2025-3-22 02:52
978-1-349-43545-6Palgrave Macmillan, a division of Nature America Inc. 2013作者: 反感 時(shí)間: 2025-3-22 06:23
Studies of the Americashttp://image.papertrans.cn/a/image/150582.jpg作者: Nomogram 時(shí)間: 2025-3-22 09:16
ence demographics, and aesthetic approaches have changed throughout the past two decades and how these changes relate to the country‘s transitions to a democratic political system and a free-market economy.978-1-349-43545-6978-1-137-31934-0作者: 惰性女人 時(shí)間: 2025-3-22 15:36
Corpora and Translation Education in de la Vega Membrillo 2009).. A common response to an inquiry on Mexico’s current film industry is, “What industry?” Many consider what exists today to be a specter of its old self and its participants often express nostalgia for what “film industry” meant in Mexico six decades ago. Since the eco作者: JIBE 時(shí)間: 2025-3-22 20:00
https://doi.org/10.1007/978-3-030-78276-4ss of liberalizing its trade policy..In this treatise on cultural production, following the cultural agenda of Carlos Salinas’s 1989 Plan Nacional de Desarrollo (National Development Plan), Tovar y de Teresa’s rhetoric couches the strategies for modernizing Mexico’s cultural identity in language of 作者: 半圓鑿 時(shí)間: 2025-3-22 23:07 作者: Ambiguous 時(shí)間: 2025-3-23 02:38
Corporal Punishment and School Outcomes,a history of censorship practices in Mexico, the complexity of its systems of power becomes evident. Throughout the century, conservative religious groups have dictated codes of moral decency, but at specific moments religion itself has been banned from cinematic representation. Historically, depict作者: browbeat 時(shí)間: 2025-3-23 09:14
Corporal Punishment in U.S. Public Schoolsendres and indicates how one of the most successful films of this period, ., had set the standard for cinema to be charged with carnal lust and animal savagery:.This new cinema, on the one hand, uses universally provocative themes to keep the narrative at the pace of a fast, fragmented editing, whil作者: grandiose 時(shí)間: 2025-3-23 10:25
The Theological Tradition of Nonviolence,is screenplay. A power outage is a moment of experiential simplicity, one that becomes the central rite of passage into adulthood in the film .. “I remember when I was younger, we were in the living room watching television and all of a sudden we were sitting there in the dark, silent, with nowhere 作者: esthetician 時(shí)間: 2025-3-23 15:42
The Ethical Position of no Harm, always made very, very weird cinema … but yes, I do wish I had made more Mexican cinema.”. The filmmaker identifies with the character Hellboy as being “from two worlds but not accepted by either.” ., del Toro’s first film and the most rooted in his homeland, was a coproduction with the United Stat作者: MUMP 時(shí)間: 2025-3-23 21:47
Principles of Corporate Governanceto government posts. Although this changing of state personnel every six years is common practice in Mexico, its effects on policy and on institutional continuity will very likely be more severe given that a new political party is taking office. But because a change of party has happened just once s作者: 案發(fā)地點(diǎn) 時(shí)間: 2025-3-24 01:58 作者: CHARM 時(shí)間: 2025-3-24 02:37 作者: 預(yù)測(cè) 時(shí)間: 2025-3-24 09:41
Introductionsses, domestically and internationally. Like the 2000 presidential elections, a wave of fin de siècle films carried with it the hopefulness for the industry’s rebirth and a drastic change in filmmaking policy and practice. The entirety of commercial-film production. throughout the presidential terms作者: Carminative 時(shí)間: 2025-3-24 12:13
Industry and Policy: Privatizing a National CinemaBy leveraging a fear of “isolation” to critique traditionalist notions of ., Tovar y de Teresa condemns at once antiquated representations of national identity and the economic models prevalent throughout Latin America in the latter half of the twentieth century, before the shift toward neoliberalis作者: coagulate 時(shí)間: 2025-3-24 16:51 作者: 羊齒 時(shí)間: 2025-3-24 21:17 作者: Communal 時(shí)間: 2025-3-24 23:58 作者: 變態(tài) 時(shí)間: 2025-3-25 07:08 作者: 我沒(méi)有命令 時(shí)間: 2025-3-25 09:31
https://doi.org/10.1007/978-3-030-78276-4By leveraging a fear of “isolation” to critique traditionalist notions of ., Tovar y de Teresa condemns at once antiquated representations of national identity and the economic models prevalent throughout Latin America in the latter half of the twentieth century, before the shift toward neoliberalis作者: Musket 時(shí)間: 2025-3-25 14:24
Corporal Punishment and School Outcomes,ough the RTC continues to dictate the defining parameters of explicit violence and pornography, since the 1970s these themes have posed much less of a concern for censors than negative representations of the nation, the upper classes, or the government itself, particularly with regard to corruption 作者: 教義 時(shí)間: 2025-3-25 19:18 作者: enormous 時(shí)間: 2025-3-25 22:28 作者: nurture 時(shí)間: 2025-3-26 00:42 作者: 芳香一點(diǎn) 時(shí)間: 2025-3-26 05:31
Conclusione historical distance into the analysis of what was quite contemporary in the moment of research, while also bringing in Mexican cinema’s most recent occurrences. Central to this merging of past and present is how the current political and economic conditions relate to the themes of censorship and violence explored in prior chapters.作者: 冰雹 時(shí)間: 2025-3-26 09:27
ence demographics, and aesthetic approaches have changed throughout the past two decades and how these changes relate to the country‘s transitions to a democratic political system and a free-market economy.978-1-349-43545-6978-1-137-31934-0作者: indices 時(shí)間: 2025-3-26 13:54
Corporal Punishment in U.S. Public Schoolsnating the fin de siècle national imaginary. Twenty-first-century Mexico’s narrative cinema has become completely saturated with images of wanton bloodshed, varying in the extent to which they politicize, satirize, stylize, romanticize, or fetishize violence, both formally and thematically.作者: Synchronism 時(shí)間: 2025-3-26 19:36 作者: CRUMB 時(shí)間: 2025-3-26 22:38 作者: enumaerate 時(shí)間: 2025-3-27 03:43
Audiences and Target Markets: On Spectatorship and Citizenship2011, 2). The report presents the deregulation of ticket prices as the key factor that led to the investment of multiplex theaters in Mexico, which in turn increased both the number of screens and consumers’ interest in going to watch cinema in theaters.作者: 侵略者 時(shí)間: 2025-3-27 06:30
Introduction in de la Vega Membrillo 2009).. A common response to an inquiry on Mexico’s current film industry is, “What industry?” Many consider what exists today to be a specter of its old self and its participants often express nostalgia for what “film industry” meant in Mexico six decades ago. Since the eco作者: 粘土 時(shí)間: 2025-3-27 12:58
Industry and Policy: Privatizing a National Cinemass of liberalizing its trade policy..In this treatise on cultural production, following the cultural agenda of Carlos Salinas’s 1989 Plan Nacional de Desarrollo (National Development Plan), Tovar y de Teresa’s rhetoric couches the strategies for modernizing Mexico’s cultural identity in language of 作者: 腐蝕 時(shí)間: 2025-3-27 15:54
Audiences and Target Markets: On Spectatorship and Citizenshipthe dominance that just a few multiplex chains have over the exhibition market, as well as the difficulties that national producers have in recouping their costs, the report nonetheless concludes without reservation that deregulating ticket prices has had a positive effect on the industry: “Thanks t作者: 協(xié)迫 時(shí)間: 2025-3-27 21:06
Censorship and Sensationalism: ,a history of censorship practices in Mexico, the complexity of its systems of power becomes evident. Throughout the century, conservative religious groups have dictated codes of moral decency, but at specific moments religion itself has been banned from cinematic representation. Historically, depict作者: carotid-bruit 時(shí)間: 2025-3-27 22:35
Hyperrealism and Violence: Fatal Aestheticsendres and indicates how one of the most successful films of this period, ., had set the standard for cinema to be charged with carnal lust and animal savagery:.This new cinema, on the one hand, uses universally provocative themes to keep the narrative at the pace of a fast, fragmented editing, whil作者: 多樣 時(shí)間: 2025-3-28 05:54
Independence and Innovation: Indie Film and the Youth Marketis screenplay. A power outage is a moment of experiential simplicity, one that becomes the central rite of passage into adulthood in the film .. “I remember when I was younger, we were in the living room watching television and all of a sudden we were sitting there in the dark, silent, with nowhere
