標題: Titlebook: Art Cinema and Neoliberalism; Alex Lykidis Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer [打印本頁] 作者: Orthosis 時間: 2025-3-21 17:21
書目名稱Art Cinema and Neoliberalism影響因子(影響力)
書目名稱Art Cinema and Neoliberalism影響因子(影響力)學科排名
書目名稱Art Cinema and Neoliberalism網(wǎng)絡公開度
書目名稱Art Cinema and Neoliberalism網(wǎng)絡公開度學科排名
書目名稱Art Cinema and Neoliberalism被引頻次
書目名稱Art Cinema and Neoliberalism被引頻次學科排名
書目名稱Art Cinema and Neoliberalism年度引用
書目名稱Art Cinema and Neoliberalism年度引用學科排名
書目名稱Art Cinema and Neoliberalism讀者反饋
書目名稱Art Cinema and Neoliberalism讀者反饋學科排名
作者: 極端的正確性 時間: 2025-3-21 21:13
Poetics of Debt: Disruptive Realism in , and cumentary realism is used in Abderrahmane Sissako’s . (2006) to foreground the heightened antagonisms between creditors and debtors in the neoliberal era. The politicization of debt in . is related to the work of African debt resistance organizations, the abstractions of neoliberal credit systems an作者: 補角 時間: 2025-3-22 00:58
Crisis of Sovereignty: Anti-psychologism in ,, ,, , and tyranny of authority figures in Yorgos Lanthimos’s . (2009) and . (2011). The impersonal, officious and miscommunicative dialogue in these films is scrutinized in relation to the organizational gothic genre and the technocratic language used to legitimate neoliberalism. There is an analysis of the w作者: BAIT 時間: 2025-3-22 05:03
Return of the Oppressed: Complex Identification in the heightened electoral impact of working-class voters. The abandonment of the working class by center-left parties previously aligned with labor movements has opened the door for the co-optation of popular discontent with neoliberalism by right-wing populists. These political dynamics are examined作者: 拋物線 時間: 2025-3-22 12:20
Political Exclusion and Cultural Difference: Challenging Objectivity in , and ony. The exclusionary treatment of people of color in contemporary France is examined through an allegorical analysis of narrative space in Abdellatif Kechiche’s . (2007) and Laurent Cantet’s . (2008). Studies of family melodrama and the writing of Chantal Mouffe are used to relate these films to th作者: 合同 時間: 2025-3-22 13:20 作者: 實現(xiàn) 時間: 2025-3-22 20:01
Afterword-2008 period. The rest of the chapter considers the way art cinema can remain politically relevant by engaging with popular culture, addressing the systemic cruelty of contemporary capitalism and providing ethical and social alternatives to the current order. The chapter concludes with an analysis o作者: 發(fā)誓放棄 時間: 2025-3-22 23:14 作者: 紅潤 時間: 2025-3-23 03:21
María José Ramírez,Moreno Falaschily intervene in a crisis situation. There is an analysis of the crisis tendencies of the neoliberal period and the strategies of legitimation used to consolidate neoliberal rule. Through an engagement with theories of Brechtian estrangement and Russian Formalist defamiliarization, this chapter propo作者: exigent 時間: 2025-3-23 09:33
Lawrence C. Paulson,Andrew W. Smithcumentary realism is used in Abderrahmane Sissako’s . (2006) to foreground the heightened antagonisms between creditors and debtors in the neoliberal era. The politicization of debt in . is related to the work of African debt resistance organizations, the abstractions of neoliberal credit systems an作者: 美麗的寫 時間: 2025-3-23 13:22
https://doi.org/10.1007/BFb0013601tyranny of authority figures in Yorgos Lanthimos’s . (2009) and . (2011). The impersonal, officious and miscommunicative dialogue in these films is scrutinized in relation to the organizational gothic genre and the technocratic language used to legitimate neoliberalism. There is an analysis of the w作者: 溫順 時間: 2025-3-23 15:24
Extensions of Logic Programmingthe heightened electoral impact of working-class voters. The abandonment of the working class by center-left parties previously aligned with labor movements has opened the door for the co-optation of popular discontent with neoliberalism by right-wing populists. These political dynamics are examined作者: 低能兒 時間: 2025-3-23 21:17 作者: intention 時間: 2025-3-23 23:06
Extensions of Logic Programminging of immigrants for the systemic failures of neoliberal capitalism is countered in the French-language films of Michael Haneke through a focus on the class interests that motivate French resistance to multiculturalism. The chapter examines how ambiguity in Haneke’s oeuvre exposes the differences b作者: 一加就噴出 時間: 2025-3-24 02:39
Extensions of Positive Definite Functions-2008 period. The rest of the chapter considers the way art cinema can remain politically relevant by engaging with popular culture, addressing the systemic cruelty of contemporary capitalism and providing ethical and social alternatives to the current order. The chapter concludes with an analysis o作者: 主動 時間: 2025-3-24 09:44 作者: Indolent 時間: 2025-3-24 11:28
978-3-030-61008-1The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: 無能性 時間: 2025-3-24 15:40 作者: Hiatus 時間: 2025-3-24 19:36 作者: 得體 時間: 2025-3-25 01:06
2634-5951 beralism. By connecting the aesthetics of art cinema to current social antagonisms, Lykidis positions class as a central concern in our understanding of the polarized dynamics of late capitalism and the escalating provocations of today’s film auteurs..978-3-030-61008-1978-3-030-61006-7Series ISSN 2634-5951 Series E-ISSN 2634-596X 作者: Insufficient 時間: 2025-3-25 04:20 作者: B-cell 時間: 2025-3-25 07:52 作者: curriculum 時間: 2025-3-25 14:55 作者: 背景 時間: 2025-3-25 19:40 作者: 固執(zhí)點好 時間: 2025-3-26 00:03 作者: Gerontology 時間: 2025-3-26 02:19 作者: 柔軟 時間: 2025-3-26 07:48
Return of the Oppressed: Complex Identification in . The chapter concludes with an analysis of how the prismatic visual design of . complicates our identification with the film’s bourgeois protagonists and deviates from the humanist relativism of earlier Iranian art cinema by emphasizing class difference.作者: enmesh 時間: 2025-3-26 09:01 作者: PAD416 時間: 2025-3-26 16:41
María José Ramírez,Moreno Falaschicontemporary auteurs are revising art cinema conventions in order to address the various social, political and cultural crises generated by neoliberalism. The chapter concludes with summaries of the remaining chapters and an overview of the book’s overall structure.作者: Yag-Capsulotomy 時間: 2025-3-26 19:27 作者: rectocele 時間: 2025-3-26 23:13
Lecture Notes in Computer Science and rhetorical contestations in . and . challenge the internal exclusions of French Republicanism and the cold economism of neoliberalism. The chapter concludes with a discussion of how deviations from individualism and realism in these films go against the pretense of impartiality commonly associated with art cinema.作者: BRIEF 時間: 2025-3-27 02:01
Extensions of Logic Programmingtory logic of xenophobic displacements of neoliberal crisis. The chapter concludes with a consideration of Haneke’s antagonistic authorship which is related to the class particularism of earlier art cinema.作者: 引導 時間: 2025-3-27 06:51
Introduction: Art Cinema and the Aesthetics of Crisis,contemporary auteurs are revising art cinema conventions in order to address the various social, political and cultural crises generated by neoliberalism. The chapter concludes with summaries of the remaining chapters and an overview of the book’s overall structure.作者: Neonatal 時間: 2025-3-27 11:50
Poetics of Debt: Disruptive Realism in , and f the Argentine bourgeoisie. The critical perspectives of both films invert the selective moralism of neoliberal debt discourse. The chapter concludes with an analysis of how . and . combine various forms of realism to explore social rather than financial conceptions of debt.作者: 敏捷 時間: 2025-3-27 14:59
Political Exclusion and Cultural Difference: Challenging Objectivity in , and and rhetorical contestations in . and . challenge the internal exclusions of French Republicanism and the cold economism of neoliberalism. The chapter concludes with a discussion of how deviations from individualism and realism in these films go against the pretense of impartiality commonly associated with art cinema.作者: hypnotic 時間: 2025-3-27 20:37
Multiculturalism as Class Trauma: Antagonistic Authorship in ,, , and tory logic of xenophobic displacements of neoliberal crisis. The chapter concludes with a consideration of Haneke’s antagonistic authorship which is related to the class particularism of earlier art cinema.作者: SOBER 時間: 2025-3-27 22:18 作者: 脫毛 時間: 2025-3-28 05:40
10樓作者: 地名表 時間: 2025-3-28 06:42
10樓作者: SKIFF 時間: 2025-3-28 12:16
10樓作者: cornucopia 時間: 2025-3-28 16:42
10樓
