標(biāo)題: Titlebook: British Women Film Directors in the New Millennium; Stella Hockenhull Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Briti [打印本頁(yè)] 作者: analgesic 時(shí)間: 2025-3-21 16:33
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書目名稱British Women Film Directors in the New Millennium讀者反饋學(xué)科排名
作者: 最后一個(gè) 時(shí)間: 2025-3-21 23:04
The Editor(s) (if applicable) and The Author(s) 2017作者: GRUEL 時(shí)間: 2025-3-22 02:33 作者: 衰老 時(shí)間: 2025-3-22 04:41 作者: 木質(zhì) 時(shí)間: 2025-3-22 09:51
https://doi.org/10.1007/978-3-8349-9298-7men demonstrate skill by taking on large-scale topics, from environmental activism, to documenting societal and cultural change, to controversial takes on inner-city life, and they explore them through intimate, relatable narratives. Furthermore, they reinforce their allegiance to their beliefs by f作者: hypnogram 時(shí)間: 2025-3-22 15:52 作者: 純樸 時(shí)間: 2025-3-22 19:02 作者: Kinetic 時(shí)間: 2025-3-22 22:43
https://doi.org/10.1007/978-3-8349-9298-7erimental filmmaking encourages a relationship with cinema which is active rather than passive. As part of the process of self-inscription, the filmmakers offer a personal aspect to their films, appearing as actor or voice-over, or working with autobiographical content. Sometimes they traverse borde作者: 鍵琴 時(shí)間: 2025-3-23 05:05
https://doi.org/10.1007/978-3-8349-9298-7unding strategies, production, distribution and exhibition methods, as well as aesthetics and genre. Innovative methods for fundraising, and women’s flair for unusual stories told using a rich visual vocabulary has important resonances for future female filmmakers. What is apparent is that most wome作者: sigmoid-colon 時(shí)間: 2025-3-23 09:25 作者: 情感 時(shí)間: 2025-3-23 13:16 作者: 向外才掩飾 時(shí)間: 2025-3-23 16:56
Introduction,ir output at a time of significant change within the UK film industry. Its focus is from 2000 to the present, when the number of women directors working within the film industry rose substantially for a short period of time, although it is acknowledged that there were notable female filmmakers worki作者: 極力證明 時(shí)間: 2025-3-23 20:57 作者: 廣告 時(shí)間: 2025-3-23 22:30
Women Directors and Documentary Cinema,men demonstrate skill by taking on large-scale topics, from environmental activism, to documenting societal and cultural change, to controversial takes on inner-city life, and they explore them through intimate, relatable narratives. Furthermore, they reinforce their allegiance to their beliefs by f作者: 愚笨 時(shí)間: 2025-3-24 05:15
Women Directors and Poetic Realism,m, sharing its codes and conventions. However, they also demonstrate that a large number of female-directed films deal with socio-political issues and, more often than not, present them in idiosyncratic ways and through a sumptuous visual style in order to emphasise an argument. These films raise se作者: 星星 時(shí)間: 2025-3-24 10:24 作者: 記憶 時(shí)間: 2025-3-24 10:56
Alternatives to Mainstream and Classic Modes of Narration,erimental filmmaking encourages a relationship with cinema which is active rather than passive. As part of the process of self-inscription, the filmmakers offer a personal aspect to their films, appearing as actor or voice-over, or working with autobiographical content. Sometimes they traverse borde作者: 樣式 時(shí)間: 2025-3-24 15:36 作者: Brocas-Area 時(shí)間: 2025-3-24 19:24 作者: insular 時(shí)間: 2025-3-25 00:02
https://doi.org/10.1007/978-3-8349-9298-7r, offers the spectator poetic images of the landscape imbued with ulterior meaning as evocative of a sense of loss experienced by the characters. In . Asante’s style tallies with Clio Barnard’s imagery in . to create an aesthetic affect which is image rather than dialogue led, yet conveys informati作者: Feedback 時(shí)間: 2025-3-25 06:11
https://doi.org/10.1007/978-3-8349-9298-7s have been financially profitable on an international scale, whether their output consists of bio-pics or comedies. The bio-pics discussed here either hinge on a female central character (., .), or offer prominence to female characters as in Taylor-Wood’s .. However, the category that dominates is 作者: 單調(diào)女 時(shí)間: 2025-3-25 09:39 作者: 恩惠 時(shí)間: 2025-3-25 12:40
https://doi.org/10.1007/978-3-8349-9298-7ress societal concerns has proven available and beneficial. Financial support for higher budget and more mainstream filmmaking tends to be derived from Hollywood and, sadly, only a minority of women make blockbusters, particularly in the action and fantasy genres. Britain’s long-standing tradition o作者: Ascribe 時(shí)間: 2025-3-25 18:22
Women Directors and Documentary Cinema, about climate change and environmental issues do so with a personal conviction, sometimes, as with Franny Armstrong, continuing to create awareness beyond the original project, or similarly, as in Penny Woolcock’s mentoring enterprise, maintaining support for their projects. When women filmmakers p作者: habile 時(shí)間: 2025-3-25 23:09 作者: 運(yùn)動(dòng)性 時(shí)間: 2025-3-26 03:36 作者: tic-douloureux 時(shí)間: 2025-3-26 07:23 作者: 柏樹 時(shí)間: 2025-3-26 11:08 作者: 凌辱 時(shí)間: 2025-3-26 15:44
Book 2017 The second part of the book examines the innovation, creativity and resourcefulness of British female film directors, as well as the considerable variety of films that they produce, selecting specific examples for analysis in the process. ? ?作者: ADJ 時(shí)間: 2025-3-26 18:50 作者: Decline 時(shí)間: 2025-3-26 23:04 作者: 有權(quán)威 時(shí)間: 2025-3-27 04:38 作者: 手榴彈 時(shí)間: 2025-3-27 05:36 作者: ABASH 時(shí)間: 2025-3-27 10:39
Women and British Cinema Funding: From the UKFC to Creative England, terms ‘bespoke support’ for filmmakers. Activities to be transferred from the UKFC included film development and production finance; film distribution and exhibition activity; film skills training and education funding. In 2015 the BFI opened a Diversity Fund with a Three Ticks Scheme for all BFI lottery funded projects.作者: 征兵 時(shí)間: 2025-3-27 16:19
Book 2017stry rose substantially. Despite the fact that nationally and internationally women film directors are underrepresented within the industry, there is a wealth of talent currently working in Britain. During the early part of the 2000s, the UKFC instigated policies and strategies for gender equality a作者: 技術(shù) 時(shí)間: 2025-3-27 19:34 作者: forager 時(shí)間: 2025-3-27 22:00
Introduction,ectors are identified along with an analysis of their productions through various dimensions, taking into account funding strategies, production, distribution and exhibition methods, as well as aesthetics and genre.作者: colloquial 時(shí)間: 2025-3-28 02:05
