標(biāo)題: Titlebook: Cinema Anime; Critical Engagements Steven T. Brown Book 2006 Steven T. Brown 2006 culture.gender.identity.politics.Visual Culture [打印本頁(yè)] 作者: 自由才謹(jǐn)慎 時(shí)間: 2025-3-21 16:24
書(shū)目名稱(chēng)Cinema Anime影響因子(影響力)
作者: Allergic 時(shí)間: 2025-3-21 22:56
“Excuse Me,Who Are You?”: Performance, the Gaze, and the Female in the Works of Kon Satoshit a pop idol whose decision to leave her career and become an actress leads to extremely violent consequences. Some critics paid it perhaps the ultimate backhanded compliment, suggesting that the film’s contemporary urban setting, sophisticated narrative, and highly realistic visuals made it seem mo作者: 性冷淡 時(shí)間: 2025-3-22 02:33 作者: 激怒某人 時(shí)間: 2025-3-22 08:19 作者: 要素 時(shí)間: 2025-3-22 12:03
Frankenstein and the Cyborg Metropolis: The Evolution of Body and City in Science Fiction Narrativesimagined their relationship to technology and the physical environment. In particular, I focus on the way that the city is imagined and depicted vis-à-vis its opposite—the wilderness, the unsophisticated provinces, or the suburbs, depending on the time period—and how changing visions of the city par作者: 薄荷醇 時(shí)間: 2025-3-22 14:49 作者: 薄荷醇 時(shí)間: 2025-3-22 19:28
The Robots from Takkun’s Head: Cyborg Adolescence in r tools, the tools in turn have shaped our perceptions of the world. In her groundbreaking “Cyborg Manifesto,” Donna Haraway states that “we are all chimeras, theorized and fabricated hybrids of machine and organism; in short, we are cyborgs.”. Philosopher Chris J. Cuomo concludes from Haraway’s ide作者: 搖曳 時(shí)間: 2025-3-23 01:15
The First Time as Farce: Digital Animation and the Repetition of Cinemathe emergence of cinema, to evoke a time when cinema was new media. This is particularly true of discussions of new media concerned with digital cinema, digital animation and video games. Sometimes commentators simply stress the incredible novelty of these new media, and offer more or less detailed 作者: 提名 時(shí)間: 2025-3-23 03:30
“Such is the Contrivance of the Cinematograph”: Dur(anim)ation, Modernity, and Edo Culture in Tabaim so artists featured at the 2001 Yokohama Triennale, Japan’s most prestigious, international show of contemporary art. She has had several solo exhibitions in Japan, and has been featured in solo and group exhibitions at well-known museums and galleries in France, Mexico, Finland, USA, Canada, Germa作者: 猛然一拉 時(shí)間: 2025-3-23 06:49
Susan Kinnear,Kate Charters,Peter Vitartasdigital cinema. The contributors to . dismantle the distinction between “high” and “l(fā)ow” culture and offer compelling arguments for the value and importance of critical scholarship on popular cultural flows in the transnational spaces of translation from the local to the global.作者: NOCT 時(shí)間: 2025-3-23 11:15 作者: alcohol-abuse 時(shí)間: 2025-3-23 17:51
https://doi.org/10.1007/978-3-7908-2799-6eed, certain of Kon’s cinematic preoccupations, such as the fluctuating relation between performance and identity, the tension between the ideal and the real, and, above all, the very porous line between illusion and materiality, seem to be perfect candidates for exploration within the animated medium.作者: AMBI 時(shí)間: 2025-3-23 20:08
“Excuse Me,Who Are You?”: Performance, the Gaze, and the Female in the Works of Kon Satoshieed, certain of Kon’s cinematic preoccupations, such as the fluctuating relation between performance and identity, the tension between the ideal and the real, and, above all, the very porous line between illusion and materiality, seem to be perfect candidates for exploration within the animated medium.作者: 臭名昭著 時(shí)間: 2025-3-23 23:48 作者: CHOP 時(shí)間: 2025-3-24 05:12
Book 2006distinction between ‘high‘ and ‘low‘ culture and offer compelling arguments for the value and importance of the study of animé and popular culture as a key link in the translation from the local to the global.作者: Fulminate 時(shí)間: 2025-3-24 09:04
antle the distinction between ‘high‘ and ‘low‘ culture and offer compelling arguments for the value and importance of the study of animé and popular culture as a key link in the translation from the local to the global.978-0-230-60621-0978-1-4039-8308-4作者: expansive 時(shí)間: 2025-3-24 12:55
ossroads of transnational cultural production in the last twenty-five years. The essays offer bold and insightful engagement with animé‘s concerns with gender identity, anxieties about body mutation and technological monstrosity, and apocalyptic fantasies of the end of history. The contributors dism作者: 殘暴 時(shí)間: 2025-3-24 16:00
Sam Hanna Bell and the Ideology of Place-vis its opposite—the wilderness, the unsophisticated provinces, or the suburbs, depending on the time period—and how changing visions of the city parallel changes in the way people conceptualize human embodiment.作者: 和平主義者 時(shí)間: 2025-3-24 20:18 作者: lymphoma 時(shí)間: 2025-3-25 01:53 作者: 預(yù)知 時(shí)間: 2025-3-25 04:51
“Such is the Contrivance of the Cinematograph”: Dur(anim)ation, Modernity, and Edo Culture in Tabaimtions in Japan, and has been featured in solo and group exhibitions at well-known museums and galleries in France, Mexico, Finland, USA, Canada, Germany, Italy, Brazil, Belgium, and other countries. In 2002, at age twenty-seven, she was appointed professor at Kyoto University of Art and Design.作者: Parallel 時(shí)間: 2025-3-25 10:29
Animated Bodies and Cybernetic Selves: , and the Question of Posthumanityoriginally told him that they wanted to capture the look and feel of anime and “make it with real people.”. Similarly, Watanabe Shinichir?, a renowned anime director best known for his successful . television series and movie, claims that when he first saw ., he “watched it as if [he] was watching a作者: 辯論 時(shí)間: 2025-3-25 15:15 作者: NAV 時(shí)間: 2025-3-25 19:30
The First Time as Farce: Digital Animation and the Repetition of Cinema, paused, scratched, skipped. Think of Christian Marclay in the mid 1980s, sanding, cracking, breaking, and repairing records to find new sounds. Thus, even when one wishes merely to enumerate or characterize what is new about new media, one runs into the problem of historical repetition—the problem作者: dagger 時(shí)間: 2025-3-25 20:23 作者: Ingratiate 時(shí)間: 2025-3-26 00:20 作者: 不成比例 時(shí)間: 2025-3-26 08:10
Topics in Anaesthesia and Critical Care, paused, scratched, skipped. Think of Christian Marclay in the mid 1980s, sanding, cracking, breaking, and repairing records to find new sounds. Thus, even when one wishes merely to enumerate or characterize what is new about new media, one runs into the problem of historical repetition—the problem作者: cocoon 時(shí)間: 2025-3-26 11:37 作者: doxazosin 時(shí)間: 2025-3-26 13:50
https://doi.org/10.1007/978-3-7908-2799-6t a pop idol whose decision to leave her career and become an actress leads to extremely violent consequences. Some critics paid it perhaps the ultimate backhanded compliment, suggesting that the film’s contemporary urban setting, sophisticated narrative, and highly realistic visuals made it seem mo作者: 隼鷹 時(shí)間: 2025-3-26 19:17 作者: 天然熱噴泉 時(shí)間: 2025-3-26 23:55 作者: 善于 時(shí)間: 2025-3-27 04:55
Sam Hanna Bell and the Ideology of Placeimagined their relationship to technology and the physical environment. In particular, I focus on the way that the city is imagined and depicted vis-à-vis its opposite—the wilderness, the unsophisticated provinces, or the suburbs, depending on the time period—and how changing visions of the city par作者: gimmick 時(shí)間: 2025-3-27 06:16 作者: 刀鋒 時(shí)間: 2025-3-27 10:48 作者: Outmoded 時(shí)間: 2025-3-27 16:02 作者: ineluctable 時(shí)間: 2025-3-27 21:32 作者: CHASE 時(shí)間: 2025-3-27 23:18 作者: 使尷尬 時(shí)間: 2025-3-28 03:26
The Americanization of Anime and Manga: Negotiating Popular Cultureeams that as the popularity and availability of these Japanese cartoons spread, so too would the interest in Japan and its culture. To some degree these dreams have come true, but not to the degree I had hoped for, despite the fact that the awareness and availability of anime and manga in translation have far surpassed anything I had expected.作者: 變異 時(shí)間: 2025-3-28 07:34 作者: 檔案 時(shí)間: 2025-3-28 13:51
https://doi.org/10.1057/9781403983084culture; gender; identity; politics; Visual Culture作者: 無(wú)可非議 時(shí)間: 2025-3-28 17:58 作者: 斜谷 時(shí)間: 2025-3-28 19:48
https://doi.org/10.1057/9781137532831home only to leave the cryptic message: “Wait just a moment longer.” Meanwhile, our cat heroine Tamala is living in Tokyo in the year 2010, uncannily repeating the same phrase and dreaming of her home on Orion: “Wait just a moment longer.”作者: debunk 時(shí)間: 2025-3-29 00:04
10樓作者: Permanent 時(shí)間: 2025-3-29 05:18
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