標(biāo)題: Titlebook: Contemporary Argentine Women Filmmakers; Mirna Vohnsen,Daniel Mourenza Book 2023 The Editor(s) (if applicable) and The Author(s), under ex [打印本頁(yè)] 作者: 反抗日本 時(shí)間: 2025-3-21 19:49
書目名稱Contemporary Argentine Women Filmmakers影響因子(影響力)
書目名稱Contemporary Argentine Women Filmmakers影響因子(影響力)學(xué)科排名
書目名稱Contemporary Argentine Women Filmmakers網(wǎng)絡(luò)公開(kāi)度
書目名稱Contemporary Argentine Women Filmmakers網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書目名稱Contemporary Argentine Women Filmmakers被引頻次
書目名稱Contemporary Argentine Women Filmmakers被引頻次學(xué)科排名
書目名稱Contemporary Argentine Women Filmmakers年度引用
書目名稱Contemporary Argentine Women Filmmakers年度引用學(xué)科排名
書目名稱Contemporary Argentine Women Filmmakers讀者反饋
書目名稱Contemporary Argentine Women Filmmakers讀者反饋學(xué)科排名
作者: 合唱團(tuán) 時(shí)間: 2025-3-21 23:03 作者: 尖酸一點(diǎn) 時(shí)間: 2025-3-22 04:23 作者: Phagocytes 時(shí)間: 2025-3-22 07:27
Jeanine Meerapfel, Cosmopolitan Auteur of the Immigrant Condition director ever. While scholars have tended to examine her films individually or grouped by nation of production, Matt Losada’s chapter considers instead the transnational dimension of her work as what Mette Hjort calls ., which “emerges as the …?effect of a lived experience of the limits of national作者: MORT 時(shí)間: 2025-3-22 09:57 作者: 發(fā)微光 時(shí)間: 2025-3-22 15:56
Sisterhood on the Threshold in Julia Solomonoff’s , (2005) Victor Turner as representing “the midpoint of transition in a status-sequence between two positions” (1974, 237). These two positions refer to social structures that are suspended during the liminality phase. Focusing on the protagonists’ spatial isolation in a suburban Texas neighbourhood and the作者: 發(fā)微光 時(shí)間: 2025-3-22 20:57 作者: 他很靈活 時(shí)間: 2025-3-23 00:06 作者: padding 時(shí)間: 2025-3-23 05:18
They Are All Around Us: Pain, Memory and Multisensory Images in Paula Markovitch’s , (2011)hiding from the military in a precarious beach house with her mother during the last dictatorship in Argentina. Following Louis Althusser and Laura Marks’s theories, Severiche examines an . and an . point made by Markovitch in the film. The former refers to the act of witnessing the state’s painful 作者: contrast-medium 時(shí)間: 2025-3-23 07:27
The Oppositional Gaze in the Argentine Cinema of Migration: Negotiating Chinese Identity and Coloniaon sexism and racism. The German filmmaker proposes a new visual form of narrative in line with bell hook’s concept of the “oppositional gaze.” Wohlatz reinterprets the gaze, negotiating her own outsider position in Argentina vis-à-vis the film’s protagonist, Xiaobin, a Chinese newcomer trying to ad作者: 制定法律 時(shí)間: 2025-3-23 11:31
Manipulating the Gaze in , (dir. Cecilia Atán and Valeria Pivato, 2017) the agent of sight […] and the object of discourses of visuality” (2006, 54). She argues that the camerawork invites viewers to immerse themselves in the protagonist’s journey while simultaneously preventing an authorial gaze that minimises her experience. Atán and Pivato challenge previous on-scre作者: intelligible 時(shí)間: 2025-3-23 14:54
Women, Hybridity and Genre in the Films of Verónica Chenles of intercultural cinema. The purpose of her analysis is to elucidate the defining characteristics of Chen’s unique filming style, distinguished by an evolving search for innovative ways to represent bodies in their relationship to natural and urban spaces. Chen strives for freedom to experiment 作者: 富足女人 時(shí)間: 2025-3-23 19:10 作者: accrete 時(shí)間: 2025-3-24 00:17
Girlhood and the Uncanny in the Coming-of-Age Genre: , (dir. Milagros Mumenthaler, 2011) and , (dir.ms follow a trend initiated by Lucrecia Martel’s ./. in 2001: a cinema confined to the family home that privileges the perception of young characters, predominantly girls, and that has the capacity to render the familiar strange. Mourenza proposes that the centrality of female adolescence and the fo作者: Indict 時(shí)間: 2025-3-24 04:09
Epilogue. On Cinematic Disobediencediversity since the 1980s onwards. The epilogue comments on the book’s cross-disciplinarity as its anchor for highlighting said filmmakers’ cultural rebellions, thematic interests and aesthetic revolt in and beyond the nation’s film industry.作者: 感情 時(shí)間: 2025-3-24 10:25 作者: noxious 時(shí)間: 2025-3-24 13:03 作者: Allure 時(shí)間: 2025-3-24 16:48
http://image.papertrans.cn/c/image/236357.jpg作者: 燒瓶 時(shí)間: 2025-3-24 22:51
Beschreibung der Versuchsmaschine,Focusing on the relationship between voice and trauma, Ana Forcinito explores the embodiment of the voice in Gabriela David’s . (2001) and Lucía Puenzo’s . (2009) to examine the relationship between women’s voices and the wounds caused by gender-based violence.作者: Maximizer 時(shí)間: 2025-3-25 02:16
Are You Listening? Voices and Images in Gabriela David’s , (2001) and Lucía Puenzo’s , (2009)Focusing on the relationship between voice and trauma, Ana Forcinito explores the embodiment of the voice in Gabriela David’s . (2001) and Lucía Puenzo’s . (2009) to examine the relationship between women’s voices and the wounds caused by gender-based violence.作者: PET-scan 時(shí)間: 2025-3-25 06:42 作者: 許可 時(shí)間: 2025-3-25 10:10 作者: AVOID 時(shí)間: 2025-3-25 13:23 作者: indenture 時(shí)間: 2025-3-25 18:46
Fritz Micheel,Hans Georg Bussmannmakes visible previously unseen stories of marginal female characters in a patriarchal society. Regarding visibility, Michel Foucault holds that to “make visible the unseen can also mean a change of level, addressing oneself to a layer of material which had hitherto had no pertinence for history and作者: archenemy 時(shí)間: 2025-3-25 21:47 作者: 四牛在彎曲 時(shí)間: 2025-3-26 00:27 作者: MARS 時(shí)間: 2025-3-26 05:11
https://doi.org/10.1007/978-3-663-04988-3ents two young women from rural Northwestern Argentina at the intersections of gender, adolescence, working-class socio-economic status, rural otherness and cognitive ability. The film shows how these identity markers make the protagonists victims of a sex trafficking scheme that takes them to Bueno作者: 上腭 時(shí)間: 2025-3-26 12:28 作者: Ataxia 時(shí)間: 2025-3-26 13:14
Die praktische Anwendung des Verfahrens,on sexism and racism. The German filmmaker proposes a new visual form of narrative in line with bell hook’s concept of the “oppositional gaze.” Wohlatz reinterprets the gaze, negotiating her own outsider position in Argentina vis-à-vis the film’s protagonist, Xiaobin, a Chinese newcomer trying to ad作者: hedonic 時(shí)間: 2025-3-26 17:56 作者: NICE 時(shí)間: 2025-3-26 21:30
https://doi.org/10.1007/978-3-663-04991-3les of intercultural cinema. The purpose of her analysis is to elucidate the defining characteristics of Chen’s unique filming style, distinguished by an evolving search for innovative ways to represent bodies in their relationship to natural and urban spaces. Chen strives for freedom to experiment 作者: 擔(dān)憂 時(shí)間: 2025-3-27 01:37 作者: 捐助 時(shí)間: 2025-3-27 06:27
Eigenschaften von Elektromagnetkupplungen,ms follow a trend initiated by Lucrecia Martel’s ./. in 2001: a cinema confined to the family home that privileges the perception of young characters, predominantly girls, and that has the capacity to render the familiar strange. Mourenza proposes that the centrality of female adolescence and the fo作者: 巨大沒(méi)有 時(shí)間: 2025-3-27 11:52 作者: conjunctiva 時(shí)間: 2025-3-27 14:07 作者: 厭惡 時(shí)間: 2025-3-27 19:34 作者: ALERT 時(shí)間: 2025-3-28 00:36 作者: dictator 時(shí)間: 2025-3-28 03:50 作者: 潔凈 時(shí)間: 2025-3-28 06:29 作者: voluble 時(shí)間: 2025-3-28 13:53 作者: colloquial 時(shí)間: 2025-3-28 17:52 作者: AMBI 時(shí)間: 2025-3-28 22:26
Book 2023onic patriarchal systems of representation.? With a focus on women’s voices and experiences, the contributions redress both the under-representation of women and girls onscreen and the perpetuation of stereotypes, while exploring the innovative aesthetics used by these filmmakers.作者: phase-2-enzyme 時(shí)間: 2025-3-29 01:32 作者: 手銬 時(shí)間: 2025-3-29 03:46 作者: 漂亮才會(huì)豪華 時(shí)間: 2025-3-29 09:58
Hermann Schmidt-Stiebitz,Wilhelm Sturtzelregeneration. She explores both the spatial liminality in which the sisters come to terms with the past and the effect the liminality phase has on their lives, their sister bond and their personal identity.作者: ENDOW 時(shí)間: 2025-3-29 11:56 作者: chastise 時(shí)間: 2025-3-29 19:17
https://doi.org/10.1007/978-3-663-04989-0difficulty in recovering such experiences from one’s own memory, capturing what seems .. In the film, ultimately, this leads to the use of multisensory images to refer to the child’s untranslatable and fleeting memories of violence.作者: 易受刺激 時(shí)間: 2025-3-29 21:04 作者: 國(guó)家明智 時(shí)間: 2025-3-30 00:22
https://doi.org/10.1007/978-3-663-04991-3rupts traditional modes of cinematic representation. Urraca argues that the films subvert the conventions of the classic psychological thriller genre in order to explore a variety of female identities and their relationship to their environments.作者: 弓箭 時(shí)間: 2025-3-30 07:54 作者: meretricious 時(shí)間: 2025-3-30 08:54
Lita Stantic: “The Personal Is Political” Is Professionalant and productive. Moreover, Burucúa argues that the reading of Stantic’s work in view of more current lines of enquiry in feminist research, which look at textual practices within specific social and historical conjunctures, provides a comprehensive understanding of the long-lasting impact of her legacy.作者: 大都市 時(shí)間: 2025-3-30 12:29 作者: 他日關(guān)稅重重 時(shí)間: 2025-3-30 16:42 作者: 正論 時(shí)間: 2025-3-30 23:19 作者: aphasia 時(shí)間: 2025-3-31 03:00
They Are All Around Us: Pain, Memory and Multisensory Images in Paula Markovitch’s , (2011)difficulty in recovering such experiences from one’s own memory, capturing what seems .. In the film, ultimately, this leads to the use of multisensory images to refer to the child’s untranslatable and fleeting memories of violence.作者: 協(xié)議 時(shí)間: 2025-3-31 08:03
The Oppositional Gaze in the Argentine Cinema of Migration: Negotiating Chinese Identity and Colonia production of contemporary Asian migration in Argentina. They contend that the oppositional gaze gives Xiaobin agency and control over her own destiny, showcasing, ultimately, the urgent need to rewrite stereotypical narratives of migration in the Latin American context.作者: Neutropenia 時(shí)間: 2025-3-31 09:52 作者: Free-Radical 時(shí)間: 2025-3-31 16:53 作者: 貝雷帽 時(shí)間: 2025-3-31 19:48
https://doi.org/10.1007/978-3-663-04983-8ding them the aesthetic freedom granted to men. Finally, the introduction offers a survey of the presence of women in the Argentine film industry, beginning with the female pioneers from the silent era, continuing with María Luisa Bemberg and Lucrecia Martel, and ending with the surge of women filmmakers in recent years.
