標(biāo)題: Titlebook: Bollywood and its Other(s); Towards New Configur Vikrant Kishore,Amit Sarwal,Parichay Patra Book 2014 Palgrave Macmillan, a division of Mac [打印本頁] 作者: 口語 時(shí)間: 2025-3-21 18:07
書目名稱Bollywood and its Other(s)影響因子(影響力)
書目名稱Bollywood and its Other(s)影響因子(影響力)學(xué)科排名
書目名稱Bollywood and its Other(s)網(wǎng)絡(luò)公開度
書目名稱Bollywood and its Other(s)網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Bollywood and its Other(s)被引頻次
書目名稱Bollywood and its Other(s)被引頻次學(xué)科排名
書目名稱Bollywood and its Other(s)年度引用
書目名稱Bollywood and its Other(s)年度引用學(xué)科排名
書目名稱Bollywood and its Other(s)讀者反饋
書目名稱Bollywood and its Other(s)讀者反饋學(xué)科排名
作者: 頭腦冷靜 時(shí)間: 2025-3-21 20:45
Rechnergesteuertes Simulationssystem,nd . (2003). Myopically acknowledged only as a change in the linguistic character of Bollywood, as manifested in its portmanteau name ‘Hinglish’, this transfiguration was often considered lusterless and sans consequences, or another addition to the long list of names representing a blend of English and Hindi:作者: Oratory 時(shí)間: 2025-3-22 01:42 作者: Onerous 時(shí)間: 2025-3-22 06:41
https://doi.org/10.1057/9781137426505Bollywood; Hindi popular cinema; Self; Other; Alternative cinema; Diaspora; Vamps; Marginal sexualities; Gen作者: 厭倦嗎你 時(shí)間: 2025-3-22 12:14
Palgrave Macmillan, a division of Macmillan Publishers Limited 2014作者: 頌揚(yáng)國家 時(shí)間: 2025-3-22 13:53
https://doi.org/10.1007/978-3-658-22974-0 Nishan I. . Nishan I, . Nishan I. Nishan I .作者: PALMY 時(shí)間: 2025-3-22 17:54
Death Becomes Her: Bombay Cinema, Nation and Kashmir Nishan I. . Nishan I, . Nishan I. Nishan I .作者: 好忠告人 時(shí)間: 2025-3-23 01:14 作者: 承認(rèn) 時(shí)間: 2025-3-23 05:16
Innere lichtelektrische Wirkung in Gasen,sons differ considerably on its usage. Bollywood refers to the globalized cinema and media cultures of the industry located in Bombay (now Mumbai), and it is associated with the economic l iberalization of the 1990s and some subsequent corollaries. Bombay cinema in the pre-liberalization era is refe作者: 笨重 時(shí)間: 2025-3-23 08:33
Lichtelektrische Zellen und ihre Anwendungealities of cinema as a whole. My primary concern with this book—and my argument in it—is topical: the concept of an ever-permeating ‘other’, cinema or otherwise, moderates my occasional dabbling with continental philosophy, and the current anthology deals with otherization as a central theme. I am 作者: aquatic 時(shí)間: 2025-3-23 13:38 作者: KIN 時(shí)間: 2025-3-23 15:14
https://doi.org/10.1007/978-3-662-31560-6t expressed his decision to marry a white, Mauritian woman in the film . (2005). He is disrupting the familial structure by bringing in an outsider in all senses, racial, religious and cultural; his mother cannot bear his choice and is devastated. The parameters that dictate the possibilities within作者: 來自于 時(shí)間: 2025-3-23 18:34 作者: maculated 時(shí)間: 2025-3-24 00:33 作者: 嗎啡 時(shí)間: 2025-3-24 02:45
https://doi.org/10.1007/978-3-662-55273-5in most Bollywood routines. Given this scheme of events in the history of the hybridisation of Bollywood song and dance from the 1970s onwards, I wish to examine how folk dances have been hybridised and transformed when represented on screen.作者: 制定 時(shí)間: 2025-3-24 09:05
https://doi.org/10.1007/978-3-662-66933-4 various cultures ‘a(chǎn)re embedded in different naive metaphysical systems and tacit epistemologies, which in turn are rooted in divergent social systems’ (2013, p. 423). It’s therefore possible that these differing cultures ‘perceive different worlds’ (Jandt, 2013, p. 59). For example, we can see that作者: 附錄 時(shí)間: 2025-3-24 11:26
Lichtquanten- und Lichtwellenleiterte barometer of sexual mores in the country (Dasgupta, 1996), Hindi cinema has provided measured representations of ‘a(chǎn)cceptable’ femininity in India. Early films produced by the Bombay film industry tackled progressive social issues (Vasudevan, 1989), and dealt with female sexuality in a similarly p作者: 同步信息 時(shí)間: 2025-3-24 17:31
Lichtquanten- und Lichtwellenleitery’ forum of the mainstream film produces and eroti-cises ‘a(chǎn)lternative’ sexual subjectivities, and whether any emancipatory potentials might be uncovered herein. Films made in India’s mainstream Hindi-speaking ‘Bollywood’, such as . (2005) and . (2004), supply a discourse of lesbian abjection and vil作者: tolerance 時(shí)間: 2025-3-24 19:17
Rechnergesteuertes Simulationssystem,nd . (2003). Myopically acknowledged only as a change in the linguistic character of Bollywood, as manifested in its portmanteau name ‘Hinglish’, this transfiguration was often considered lusterless and sans consequences, or another addition to the long list of names representing a blend of English 作者: 序曲 時(shí)間: 2025-3-25 02:52
Rechnergesteuertes Simulationssystem,ro epitomised by Rajesh Khanna gradually receded into the background as a new generation of angry young man brigade led by Amitabh Bachchan, Vinod Khanna and Sunil Dutt took centre stage. Hindi cinema had its tryst with the middle-class, common-man archetype through the films of Amol Palekar, Sanjee作者: 雜色 時(shí)間: 2025-3-25 03:56 作者: 埋葬 時(shí)間: 2025-3-25 09:40
‘Dil Dance Maare Re’in most Bollywood routines. Given this scheme of events in the history of the hybridisation of Bollywood song and dance from the 1970s onwards, I wish to examine how folk dances have been hybridised and transformed when represented on screen.作者: reaching 時(shí)間: 2025-3-25 14:06
Hinglish Cinemand . (2003). Myopically acknowledged only as a change in the linguistic character of Bollywood, as manifested in its portmanteau name ‘Hinglish’, this transfiguration was often considered lusterless and sans consequences, or another addition to the long list of names representing a blend of English and Hindi:作者: 發(fā)現(xiàn) 時(shí)間: 2025-3-25 16:56
rging superpower? Bollywood and Its Other(s) explores the aesthetic-philosophical questions of the other through, for example, discussions on Indian diaspora‘s negotiations with national identity.978-1-137-42650-5作者: HEPA-filter 時(shí)間: 2025-3-25 21:20
rging superpower? Bollywood and Its Other(s) explores the aesthetic-philosophical questions of the other through, for example, discussions on Indian diaspora‘s negotiations with national identity.978-1-137-42650-5作者: 凝視 時(shí)間: 2025-3-26 00:10
Bombay Cinema’s Aesthetic Otheritution. So when Mani Kaul tried to define his cinema with a preference for a term like ., it was a decisive statement against the supposed . of the medium. His . (1969) was given the Sunday evening slot in television, a slot better known for the popular Bombay films. Kaul, on a lighter note, suggested a different slot for his . cinema:作者: 死亡 時(shí)間: 2025-3-26 05:52 作者: Conclave 時(shí)間: 2025-3-26 09:37
Bollywood’s Encounters with the Third Kindgeneral absence of SF in Hindi popular cinema, seen from the perspective of a film-lover who is also a shamelessly zealous SF fan in a culture that, for various reasons, has not shown much interest in it.作者: alcohol-abuse 時(shí)間: 2025-3-26 13:55
Lichtquanten- und Lichtwellenleiteron of female sexuality was embodied in the character of the Hindi movie ‘vamp’. Vamps were women who provided sensuality to the film’s narrative, and reached their zenith in the 1960s and 1970s, when almost all commercial Hindi films negotiated with sexuality through their lens.作者: 撫育 時(shí)間: 2025-3-26 19:40
Lichtquanten- und Lichtwellenleiterations of gay men. Can mass-market ‘products’ where pleasure can be derived from the successful combination of plot, music and visual spectacle serve in the hands of critical viewers as tools for destabilising sexual binaries despite their overt narrative outcomes?作者: seruting 時(shí)間: 2025-3-26 21:23 作者: Generator 時(shí)間: 2025-3-27 03:19 作者: nutrition 時(shí)間: 2025-3-27 07:24
Lichtelektrische Zellen und ihre Anwendungitution. So when Mani Kaul tried to define his cinema with a preference for a term like ., it was a decisive statement against the supposed . of the medium. His . (1969) was given the Sunday evening slot in television, a slot better known for the popular Bombay films. Kaul, on a lighter note, suggested a different slot for his . cinema:作者: BIDE 時(shí)間: 2025-3-27 09:39 作者: 巨碩 時(shí)間: 2025-3-27 14:51
Rolfdieter Krause,Rainer Stangegeneral absence of SF in Hindi popular cinema, seen from the perspective of a film-lover who is also a shamelessly zealous SF fan in a culture that, for various reasons, has not shown much interest in it.作者: Prostaglandins 時(shí)間: 2025-3-27 19:52 作者: 六個(gè)才偏離 時(shí)間: 2025-3-28 00:43
Transgressing the Moral Universeance films eliminate these potential threats through various narrative devices and mechanisms. There are examples of interracial diasporic romance films in which this taboo is broken; however, this is done so in such a way as to mitigate its potential for transformation of the romantic landscape in popular Hindi film.作者: 外科醫(yī)生 時(shí)間: 2025-3-28 03:49
Innere lichtelektrische Wirkung in Gasen,efine culture economically, Rajadhyaksha concentrates on the larger significance of the culture industry beyond the confines of traditional cinema exhibition, the emergence of the corporate- industrial-financial capital and the proliferation of the ancillary sector of film production/exhibition. Abo作者: 空氣 時(shí)間: 2025-3-28 07:53
Lichtelektrische Zellen und ihre Anwendungallenge to the curious, mainly due to the sheer scope of the topic. I will, therefore, further delimit my ambit. I want to (1) briefly look into the variant theoretical expositions of the definition of ‘Bollywood’, i.e. how it functions, coheres, frustrates, and (2) analyze the philosophical underpi作者: Detain 時(shí)間: 2025-3-28 11:44
https://doi.org/10.1007/978-3-662-55273-5eover, she also co-starred with the singing legend K. L. Saigal in . (1945), . (1946) and in . (1947), though her career arguably took off with . (1942). Let us say that she was one of the actors who continued to perform her own songs, even at the times when the popularity of the playback singers so作者: Lacunar-Stroke 時(shí)間: 2025-3-28 16:34 作者: AGOG 時(shí)間: 2025-3-28 20:39 作者: explicit 時(shí)間: 2025-3-29 02:36
Introductionefine culture economically, Rajadhyaksha concentrates on the larger significance of the culture industry beyond the confines of traditional cinema exhibition, the emergence of the corporate- industrial-financial capital and the proliferation of the ancillary sector of film production/exhibition. Abo作者: 蕁麻 時(shí)間: 2025-3-29 05:14 作者: 流利圓滑 時(shí)間: 2025-3-29 08:24
Hindi Popular Cinema and Its Peripherieseover, she also co-starred with the singing legend K. L. Saigal in . (1945), . (1946) and in . (1947), though her career arguably took off with . (1942). Let us say that she was one of the actors who continued to perform her own songs, even at the times when the popularity of the playback singers so作者: 相反放置 時(shí)間: 2025-3-29 13:12 作者: 障礙物 時(shí)間: 2025-3-29 15:45
The Ramsay Chroniclesamsay, Kiran Ramsay, Shyam Ramsay, Gangu Ramsay and Arjun Ramsay—who edited, produced and directed horror films to keep the ‘Ramsay Brothers’ syndicate afloat. The journey which started in the early 1970s and reached its peak in the 1980s still continues, albeit sporadically, in the 21st century. Th作者: BACLE 時(shí)間: 2025-3-29 23:03
Introductionsons differ considerably on its usage. Bollywood refers to the globalized cinema and media cultures of the industry located in Bombay (now Mumbai), and it is associated with the economic l iberalization of the 1990s and some subsequent corollaries. Bombay cinema in the pre-liberalization era is refe作者: Banister 時(shí)間: 2025-3-30 02:36
Self, Other and Bollywoodealities of cinema as a whole. My primary concern with this book—and my argument in it—is topical: the concept of an ever-permeating ‘other’, cinema or otherwise, moderates my occasional dabbling with continental philosophy, and the current anthology deals with otherization as a central theme. I am 作者: 游行 時(shí)間: 2025-3-30 06:18 作者: 發(fā)牢騷 時(shí)間: 2025-3-30 11:08 作者: CON 時(shí)間: 2025-3-30 13:51 作者: 令人悲傷 時(shí)間: 2025-3-30 17:24 作者: 笨拙的我 時(shí)間: 2025-3-30 22:38
