標(biāo)題: Titlebook: Cinema after Fascism; The Shattered Screen Siobhan S. Craig Book 2010 Palgrave Macmillan, a division of Nature America Inc. 2010 cinema.Eur [打印本頁(yè)] 作者: Inoculare 時(shí)間: 2025-3-21 17:04
書目名稱Cinema after Fascism影響因子(影響力)
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書目名稱Cinema after Fascism網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
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書目名稱Cinema after Fascism被引頻次學(xué)科排名
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書目名稱Cinema after Fascism讀者反饋
書目名稱Cinema after Fascism讀者反饋學(xué)科排名
作者: 薄膜 時(shí)間: 2025-3-21 20:52
Region-Building in North Africathe traces of the past. All three directors repeatedly confront us with a visual summary of what has been lost and of the ad hoc quality of new constructions in these landscapes of destruction. Like Rossellini, Wilder and Reed focus their films on a confrontation between the fascist culture that now作者: 不能和解 時(shí)間: 2025-3-22 02:04
Cross-Border Interactions and Regionalismon is glimpsed only briefly, presents, like the overtly visible ruins of Rossellini’s ., an insistent question: how does postwar Italy rebuild, relive, renarrate, and recinematize the Italy of Mussolini? Rather than the rubble we see in Rossellini’s film and in Helma Sanders-Brahms’ ., or the traces作者: Delirium 時(shí)間: 2025-3-22 06:02
The Finnish Integrated Acidification Models he examines the persistence of structures of desire and power. To this damaged historiography is added the ruination of desire and spectatorship. The subject is constituted both as a phantasm of spectacle (a creature of smoke and mirrors) and as an obsessive spectator, with scopophilia as the ruli作者: 外形 時(shí)間: 2025-3-22 11:12
Willem de Vries,Maximilian Posch,Juha K?m?riolocaust film spectator must negotiate. My discussion in . has focused detailed attention on a few films, attempting both to engage them closely on a textual level and to situate them in dialogue with each other and with a complex spectrum of ideological, historiographic, or aesthetic discourses. In作者: Abrade 時(shí)間: 2025-3-22 14:47
Introduction,o reconfigure the idioms of cinema, ranging from the ambivalently postfascist neorealism of Roberto Rossellini to the “neomelodramas” of Rainer Werner Fassbinder, remain highly precarious. These new cinematic languages are never fully naturalized: the joists and scaffolding remain visible and indeed作者: Abrade 時(shí)間: 2025-3-22 18:13
The Ghost in the Rubble,the traces of the past. All three directors repeatedly confront us with a visual summary of what has been lost and of the ad hoc quality of new constructions in these landscapes of destruction. Like Rossellini, Wilder and Reed focus their films on a confrontation between the fascist culture that now作者: 頌揚(yáng)國(guó)家 時(shí)間: 2025-3-22 22:17
The Web of Spectacle,on is glimpsed only briefly, presents, like the overtly visible ruins of Rossellini’s ., an insistent question: how does postwar Italy rebuild, relive, renarrate, and recinematize the Italy of Mussolini? Rather than the rubble we see in Rossellini’s film and in Helma Sanders-Brahms’ ., or the traces作者: indignant 時(shí)間: 2025-3-23 01:58
The Passion of Veronika Voss,s he examines the persistence of structures of desire and power. To this damaged historiography is added the ruination of desire and spectatorship. The subject is constituted both as a phantasm of spectacle (a creature of smoke and mirrors) and as an obsessive spectator, with scopophilia as the ruli作者: 發(fā)炎 時(shí)間: 2025-3-23 06:37 作者: 蘆筍 時(shí)間: 2025-3-23 12:10 作者: 時(shí)代錯(cuò)誤 時(shí)間: 2025-3-23 16:06
Willem de Vries,Maximilian Posch,Juha K?m?riegate them to entirely different historical periods and to different national and linguistic fields. Both perform an operation of archeology, excavating—decades later—the epicenter, both literal and symbolic, of destruction; they turn over the scattered rubble, exposing its unweathered surfaces and returning us to the scene of crisis.作者: exercise 時(shí)間: 2025-3-23 19:50
The Atomized Subject,egate them to entirely different historical periods and to different national and linguistic fields. Both perform an operation of archeology, excavating—decades later—the epicenter, both literal and symbolic, of destruction; they turn over the scattered rubble, exposing its unweathered surfaces and returning us to the scene of crisis.作者: 退潮 時(shí)間: 2025-3-23 22:22 作者: 損壞 時(shí)間: 2025-3-24 06:07
2945-6274 into issues of gender certainties and spectatorship. In this period of film, familiar structures of epistemology and historiography reappear as ghostly imprints on postwar celluloid, and the remnants of fascist subjectivity walk the streets of postwar cities. Through new perspectives on the films o作者: 女上癮 時(shí)間: 2025-3-24 08:38
In the Ruins of Fascism,military propaganda films.. He moved in this short time from producing work that glorified the fascist military machine—espousing, at least in large segments of these films, a jingoistic and hypermasculinized version of Italian national identity fully in keeping with fascist ideals—to a clear condemnation of fascist society.作者: UNT 時(shí)間: 2025-3-24 10:52
Book 2010Rossellini, Billy Wilder, Carol Reed, Alain Resnais, and Marguerite Duras, this book examines the ways in which filmmakers acknowledge the fascist past. Siobhan S. Craig reveals that the attempts to reconfigure the idioms of cinema are never fully naturalized and remain highly precarious constructions.作者: savage 時(shí)間: 2025-3-24 16:56 作者: faucet 時(shí)間: 2025-3-24 21:13 作者: BIAS 時(shí)間: 2025-3-25 01:04
Cinema after Fascism978-0-230-10974-2Series ISSN 2945-6274 Series E-ISSN 2945-6282 作者: 豎琴 時(shí)間: 2025-3-25 05:25
https://doi.org/10.1057/9780230109742cinema; Europe; fascism; knowledge; subject作者: 雀斑 時(shí)間: 2025-3-25 11:31
978-1-349-28823-6Palgrave Macmillan, a division of Nature America Inc. 2010作者: 通便 時(shí)間: 2025-3-25 13:08 作者: senile-dementia 時(shí)間: 2025-3-25 16:54 作者: Hyaluronic-Acid 時(shí)間: 2025-3-25 23:21 作者: BOLT 時(shí)間: 2025-3-26 02:43
Cross-Border Interactions and Regionalismenaissance city in northern Italy, stunning our senses with its beauty; this intense aesthetic pleasure is, characteristically, a snare that Bertolucci gradually tightens until we, the spectators, are struggling uncomfortably in a trap woven from what we can only recognize as the silken strands of o作者: Awning 時(shí)間: 2025-3-26 04:24 作者: Obstruction 時(shí)間: 2025-3-26 12:15 作者: 不能和解 時(shí)間: 2025-3-26 14:26
Willem de Vries,Maximilian Posch,Juha K?m?rithe architectonics of reason:” “It is impossible to build anything whatsoever from or on this debris. All one can do is thread one’s way through it, slip and slide through the ruins, listen to the complaints that emanate from them.” Citing Walter Benjamin and Theodore Adorno, Lyotard continues: “Phi作者: Truculent 時(shí)間: 2025-3-26 19:43
Introduction,ascist past. Fascism persists as the rubble-field of cinema after 1945, its constituent elements taken up as building blocks for new visions and new constructions, which never fully escape the mark of their origin. The ruins of war, a recurring image in postwar cinema, are emblematic of a broader co作者: 神化怪物 時(shí)間: 2025-3-26 23:38 作者: 稱贊 時(shí)間: 2025-3-27 02:32 作者: 賞錢 時(shí)間: 2025-3-27 06:19 作者: 未完成 時(shí)間: 2025-3-27 11:20
The Atomized Subject,ogical “ground zero.” The two films form part of a transnational dialogue that cuts across the boundaries of national cinema and language. Though they may appear, on the surface, to have little in common—they were made over twenty years apart (1959 and 1980, respectively) in different countries and 作者: 走調(diào) 時(shí)間: 2025-3-27 15:54 作者: avulsion 時(shí)間: 2025-3-27 20:32
Afterword,the architectonics of reason:” “It is impossible to build anything whatsoever from or on this debris. All one can do is thread one’s way through it, slip and slide through the ruins, listen to the complaints that emanate from them.” Citing Walter Benjamin and Theodore Adorno, Lyotard continues: “Phi作者: 開(kāi)玩笑 時(shí)間: 2025-3-27 22:10
10樓作者: 運(yùn)動(dòng)吧 時(shí)間: 2025-3-28 02:52
10樓作者: Acetaminophen 時(shí)間: 2025-3-28 10:17
10樓作者: 無(wú)政府主義者 時(shí)間: 2025-3-28 11:10
10樓
