標(biāo)題: Titlebook: Breaking Bad and Dignity; Unity and Fragmentat Elliott Logan Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Breaking Bad.se [打印本頁(yè)] 作者: Ensign 時(shí)間: 2025-3-21 19:17
書目名稱Breaking Bad and Dignity影響因子(影響力)
書目名稱Breaking Bad and Dignity影響因子(影響力)學(xué)科排名
書目名稱Breaking Bad and Dignity網(wǎng)絡(luò)公開度
書目名稱Breaking Bad and Dignity網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Breaking Bad and Dignity被引頻次
書目名稱Breaking Bad and Dignity被引頻次學(xué)科排名
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書目名稱Breaking Bad and Dignity讀者反饋
書目名稱Breaking Bad and Dignity讀者反饋學(xué)科排名
作者: hardheaded 時(shí)間: 2025-3-21 23:39 作者: 具體 時(shí)間: 2025-3-22 00:35
Pursuing Success in Season Two,nce — confronting Tuco. When Tuco asks for a name, Walt baptises himself ‘Heisenberg’. This not only evokes the difficulties of perception and knowledge posed by the uncertainty principle, but also implies that Walt is living-out a perhaps long-imagined fantasy of scientific recognition and fame, on作者: 蒸發(fā) 時(shí)間: 2025-3-22 07:01
Inheritance and Legacy in Season Four,n in their capacity to ‘a(chǎn)ccept what cannot be unsaid or undone’.. Another case is Jacques Tourneur‘s . (1947), in which the characters’ histories leave them very little, but crucially some, just enough, room to act and so to retrieve a degree of their capacity to give intentional and therefore meani作者: 粘 時(shí)間: 2025-3-22 12:09
Nieves Pérez-Solórzano Borragáneserve of cinema. In Jason Jacobs’s words, the validation of some television dramas in terms of their so-called ‘cinematic’ qualities can be understood as responding to the idea that television fiction had been ‘textually anaemic when compared to film or literature’..Readily available statements by 作者: expound 時(shí)間: 2025-3-22 16:33
Anthea Connolly,Stephen Day,Jo Shawome in episode four (‘Cancer Man’, 1.4). Jesse’s unexpected and somewhat unwelcome visit reveals, in his promising childhood drawings, a past of diligent application; he tries to recover this quality of character in episode five (‘Gray Matter’, 1.5) through his self-guided attempts to meet Walt’s st作者: Definitive 時(shí)間: 2025-3-22 17:47
https://doi.org/10.1007/1-4020-3090-8nce — confronting Tuco. When Tuco asks for a name, Walt baptises himself ‘Heisenberg’. This not only evokes the difficulties of perception and knowledge posed by the uncertainty principle, but also implies that Walt is living-out a perhaps long-imagined fantasy of scientific recognition and fame, on作者: 搜尋 時(shí)間: 2025-3-23 00:40
https://doi.org/10.1007/1-4020-3090-8n in their capacity to ‘a(chǎn)ccept what cannot be unsaid or undone’.. Another case is Jacques Tourneur‘s . (1947), in which the characters’ histories leave them very little, but crucially some, just enough, room to act and so to retrieve a degree of their capacity to give intentional and therefore meani作者: allude 時(shí)間: 2025-3-23 01:59 作者: 少量 時(shí)間: 2025-3-23 09:08
Palgrave Close Readings in Film and Televisionhttp://image.papertrans.cn/b/image/190503.jpg作者: Ballerina 時(shí)間: 2025-3-23 13:26 作者: 墊子 時(shí)間: 2025-3-23 15:47
Book 2016An ambitious interpretation of the critically celebrated and widely popular crime drama Breaking Bad , this book argues that not only should the series be understood as a show that revolves around the dramatic stakes of dignity, but that to do so reveals - in new ways - central aspects of serial television drama as an art form.作者: 為敵 時(shí)間: 2025-3-23 20:19 作者: 善辯 時(shí)間: 2025-3-23 22:52 作者: 詞匯記憶方法 時(shí)間: 2025-3-24 03:10
Nieves Pérez-Solórzano BorragánS, the UK, and Europe that, from the 1990s onwards, drew frequent acclaim for extending and deepening television fiction’s narrative and stylistic palette and its range of related achievements. A common touchstone for this discourse was the adjective ‘cinematic’. As a term of both description and ap作者: 音樂戲劇 時(shí)間: 2025-3-24 08:37
Anthea Connolly,Stephen Day,Jo Shawn which they risk humiliating or shameful exposure. The pilot episode (‘Breaking Bad’, 1.1) introduces both Walt and Jesse through vulnerable moments of possible discovery and exposure by the police: first Walt in the opening sequence in the desert, later Jesse in the second act meth lab raid. Throu作者: maverick 時(shí)間: 2025-3-24 11:27
https://doi.org/10.1007/1-4020-3090-8ndful of Nothin” (1.6), Walt, undergoing what we see to be the degrading effects of chemotherapy — his nausea keeps him from work, his hair falls out in clumps — seeks to accelerate the earnings of Jesse’s piecemeal, hand-to-hand meth deals. Walt decides they should get a contract with a mid-level d作者: GENRE 時(shí)間: 2025-3-24 15:24 作者: Sputum 時(shí)間: 2025-3-24 21:17 作者: Infraction 時(shí)間: 2025-3-25 01:45 作者: Minatory 時(shí)間: 2025-3-25 05:53
Trends in the Business Environment,surely at least partly out of guilt over Jane’s death and the ensuing plane crash, but more explicitly because earlier in the episode Skyler petitioned him for divorce. ‘I have money’, Walt tells Gus. ‘I have more money than I know how to spend. What I don’t have is my family.’作者: Humble 時(shí)間: 2025-3-25 08:58
https://doi.org/10.1007/1-4020-3090-8on the basis of enough encounters with friends and colleagues and students whose views of . do not line up with mine, that not all readers will find full agreement with my appreciation for Vince Gilligan’s show. Despite this, my conviction remains that the aspects of . that are described in the pages of this book are materially verifiable.作者: CAPE 時(shí)間: 2025-3-25 14:33 作者: 形上升才刺激 時(shí)間: 2025-3-25 16:50
Taking a Stand in Season Three,surely at least partly out of guilt over Jane’s death and the ensuing plane crash, but more explicitly because earlier in the episode Skyler petitioned him for divorce. ‘I have money’, Walt tells Gus. ‘I have more money than I know how to spend. What I don’t have is my family.’作者: 忍受 時(shí)間: 2025-3-25 21:22
Conclusion: Facing Completion in Season Five,on the basis of enough encounters with friends and colleagues and students whose views of . do not line up with mine, that not all readers will find full agreement with my appreciation for Vince Gilligan’s show. Despite this, my conviction remains that the aspects of . that are described in the pages of this book are materially verifiable.作者: hallow 時(shí)間: 2025-3-26 02:33
Introduction,S, the UK, and Europe that, from the 1990s onwards, drew frequent acclaim for extending and deepening television fiction’s narrative and stylistic palette and its range of related achievements. A common touchstone for this discourse was the adjective ‘cinematic’. As a term of both description and ap作者: ABYSS 時(shí)間: 2025-3-26 06:59
Humiliation and Shame in Season One,n which they risk humiliating or shameful exposure. The pilot episode (‘Breaking Bad’, 1.1) introduces both Walt and Jesse through vulnerable moments of possible discovery and exposure by the police: first Walt in the opening sequence in the desert, later Jesse in the second act meth lab raid. Throu作者: 牲畜欄 時(shí)間: 2025-3-26 08:43
Pursuing Success in Season Two,ndful of Nothin” (1.6), Walt, undergoing what we see to be the degrading effects of chemotherapy — his nausea keeps him from work, his hair falls out in clumps — seeks to accelerate the earnings of Jesse’s piecemeal, hand-to-hand meth deals. Walt decides they should get a contract with a mid-level d作者: 孤僻 時(shí)間: 2025-3-26 16:01
Taking a Stand in Season Three,and its equipment. The scene marks the height of Gus’s pitch to employ Walt as his cook, which he first makes in the season’s opening episode, ‘No Más’ (3.1). The offer is ‘three million dollars, for three months of your time’. Yet Walt, after a barely concealed moment of enticement, turns it down, 作者: 大都市 時(shí)間: 2025-3-26 17:54
Inheritance and Legacy in Season Four,shot with the season’s terminal cut to black marks Jesse’s sudden murder of Gale as a terrible act of completion. At the same time, no small weight is carried in our felt awareness of how this must deform whatever remains of Jesse’s life yet to be lived. The ending thus achieves its poise between a 作者: 不可磨滅 時(shí)間: 2025-3-26 23:20
Conclusion: Facing Completion in Season Five,tention and writing is guided by Christopher Ricks’s summary of William Empson’s aim as a critic. Here again are those steering words: ‘The idea was not so much to show someone that a poem is good, as to go some way towards showing how it comes to be good, so very good’.. I can comfortably predict, 作者: Diatribe 時(shí)間: 2025-3-27 01:38 作者: Munificent 時(shí)間: 2025-3-27 07:21 作者: Interferons 時(shí)間: 2025-3-27 12:24 作者: 吞吞吐吐 時(shí)間: 2025-3-27 15:54 作者: 詢問 時(shí)間: 2025-3-27 18:13
erschienen sind. Der Verlag stellt mit diesem Archiv Quellen für die historische wie auch die disziplingeschichtliche Forschung zur Verfügung, die jeweils im historischen Kontext betrachtet werden müssen. Dieser Titel erschien in der Zeit vor 1945 und wird daher in seiner zeittypischen politisch-ide
