標題: Titlebook: Contemporary European Science Fiction Cinemas; Aidan Power Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Dystopia.Europe. [打印本頁] 作者: arouse 時間: 2025-3-21 19:25
書目名稱Contemporary European Science Fiction Cinemas影響因子(影響力)
書目名稱Contemporary European Science Fiction Cinemas影響因子(影響力)學科排名
書目名稱Contemporary European Science Fiction Cinemas網(wǎng)絡(luò)公開度
書目名稱Contemporary European Science Fiction Cinemas網(wǎng)絡(luò)公開度學科排名
書目名稱Contemporary European Science Fiction Cinemas被引頻次
書目名稱Contemporary European Science Fiction Cinemas被引頻次學科排名
書目名稱Contemporary European Science Fiction Cinemas年度引用
書目名稱Contemporary European Science Fiction Cinemas年度引用學科排名
書目名稱Contemporary European Science Fiction Cinemas讀者反饋
書目名稱Contemporary European Science Fiction Cinemas讀者反饋學科排名
作者: configuration 時間: 2025-3-21 23:52
Introduction: A Dream Called RomeEuropean sphere. Beginning with an exploration of the science fictional nature of European integration—a project with utopian ideals that emerged as a response to the dystopian horrors of the Second World War—the chapter then turns to European science fiction cinema itself, which, it argues, has und作者: COLIC 時間: 2025-3-22 00:39
Shaping a European Narrative: Eurimages, SF, and the Auteurhas traditionally not been a major backer of sf, in recent years this has begun to change. As such, the chapter examines how European cinema operates on an industrial level through the seemingly unlikely prism of sf, taking in the work of two of European cinema’s foremost auteurs in Michael Haneke a作者: 發(fā)現(xiàn) 時間: 2025-3-22 07:53
SF in the EU’s Newest Member Statesed onscreen in Bulgaria, Croatia, Hungary, and Lithuania. Beginning with an industrial analysis of the American-owned Nu Boyana Film Studios in Sofia which has produced a host of sf b-movies, the focus then shifts to the Croatian micro-budget media satire . (Nevio Marasovi? 2010), a film in which EU作者: Tortuous 時間: 2025-3-22 11:12 作者: PATRI 時間: 2025-3-22 13:26 作者: PATRI 時間: 2025-3-22 19:51 作者: 寡頭政治 時間: 2025-3-22 23:50 作者: BET 時間: 2025-3-23 01:22
European SF and Hollywood no study of European sf cinema can hope to claim any sort of authority while ignoring the largest player in the European market. Blending industrial and filmic analysis, the chapter seeks to quantify the extent of Hollywood sf dominance within EU cinemas and to examine its potential repercussions. 作者: 指令 時間: 2025-3-23 08:54
Conclusions and Roads Aheadal political landscape. Reflecting upon the changes that Europe has gone through since the turn of the millennium, the chapter makes the case for sf’s continued importance, arguing that however bleak or fantastical its narratives, it forces us to confront fundamental questions about the EU and the v作者: 思想上升 時間: 2025-3-23 10:52
https://doi.org/10.1007/978-4-431-55075-4European sphere. Beginning with an exploration of the science fictional nature of European integration—a project with utopian ideals that emerged as a response to the dystopian horrors of the Second World War—the chapter then turns to European science fiction cinema itself, which, it argues, has und作者: 雇傭兵 時間: 2025-3-23 15:18 作者: 脖子 時間: 2025-3-23 21:50 作者: Forsake 時間: 2025-3-24 01:24
https://doi.org/10.1007/978-4-431-55924-5called PIIGS nations of Portugal, Ireland, Italy, Greece, and Spain, all five of which were forced to implement ruinous austerity measures in exchange for the EU’s financial aid. Exploring the impact of the EU’s pursuance of a neoliberal agenda through the prism of science fiction, the chapter analy作者: 榮幸 時間: 2025-3-24 03:20
https://doi.org/10.1007/978-4-431-55924-5e and Spain. Starting with an analysis of Yorgos Lanthimos’ . (2015), a film, it will be argued, that is both an industrial endorsement of European integration and an onscreen evisceration of the EU’s austerity policies, the focus then shifts to Spain. There, particular emphasis will be placed upon 作者: PHON 時間: 2025-3-24 10:09
https://doi.org/10.1007/978-4-431-56856-8 Franny Armstrong’s ‘sf documentary’ . (2009) and Tarik Saleh’s fully animated sf . (2009), which imagines the consequences for the EU when corporations begin to subsume the social functions of states. Despite their formal differences, both films present systemic critiques of Europe’s central role i作者: 名義上 時間: 2025-3-24 11:15 作者: 天然熱噴泉 時間: 2025-3-24 17:54 作者: 無瑕疵 時間: 2025-3-24 20:54 作者: Harpoon 時間: 2025-3-25 03:13
Aidan PowerConstitutes the first book-length study on contemporary European science fiction cinema.Uses science fiction to engage with the economic and political crises in 21st century Europe.Analyses both the E作者: 搏斗 時間: 2025-3-25 04:06
Palgrave European Film and Media Studieshttp://image.papertrans.cn/c/image/236471.jpg作者: 性冷淡 時間: 2025-3-25 09:12 作者: Innocence 時間: 2025-3-25 14:48
https://doi.org/10.1007/978-3-319-89827-8Dystopia; Europe; crisis; film; science fiction; 21st century; extremism; EU; financial crisis; cinema; politi作者: 亞麻制品 時間: 2025-3-25 17:30 作者: RAGE 時間: 2025-3-25 21:58
Contemporary European Science Fiction Cinemas978-3-319-89827-8Series ISSN 2634-615X Series E-ISSN 2634-6168 作者: 不足的東西 時間: 2025-3-26 02:01 作者: ENDOW 時間: 2025-3-26 04:45 作者: 忘恩負義的人 時間: 2025-3-26 11:46 作者: aristocracy 時間: 2025-3-26 16:16 作者: 貞潔 時間: 2025-3-26 19:02 作者: Influx 時間: 2025-3-26 23:00 作者: PRISE 時間: 2025-3-27 02:47
2634-615X political crises in 21st century Europe.Analyses both the E.Contemporary European Science Fiction Cinemas .charts the evolution of European science fiction cinema in the 21st century, a period in which Europe itself has faced myriad crises. Key to this study is an exploration of how European scienc作者: lesion 時間: 2025-3-27 06:37
https://doi.org/10.1007/978-4-431-55075-4 response to the dystopian horrors of the Second World War—the chapter then turns to European science fiction cinema itself, which, it argues, has undergone a major resurgence in the twenty-first century, in keeping with the myriad crises to have assailed the European Union during this period.作者: 我悲傷 時間: 2025-3-27 11:22 作者: thrombosis 時間: 2025-3-27 14:12
Carbonized Terra: Paradox of Civilizationnd Lars von Trier, as well as the partly crowd-funded sf comedy . (Timo Vuorensola 2012). Balancing an attention to Eurimages’ macro-politics with the aesthetic choices of their funded sf filmmakers, the chapter will show how even the most dystopian visions of Europe ultimately play into the Council of Europe’s institutional strategies.作者: 詼諧 時間: 2025-3-27 20:39 作者: 冷漠 時間: 2025-3-27 23:10 作者: Ejaculate 時間: 2025-3-28 05:58 作者: 閑逛 時間: 2025-3-28 08:06
Pediatric Minimally Invasive Surgery,To facilitate this analysis, specific focus will be ascribed to the film . (Juan Carlos Fresnadillo 2007), which, it will be argued, pointedly retools the mechanics of its predecessor . (Danny Boyle 2002) to present a version of Britain that is almost entirely shaped by US cultural conceptions of Europe.作者: Ambulatory 時間: 2025-3-28 12:16 作者: 釋放 時間: 2025-3-28 17:00 作者: acheon 時間: 2025-3-28 22:02
Book 2018itself has faced myriad crises. Key to this study is an exploration of how European science fiction responds to prevalent issues such as the financial crisis, political extremism and violence, large-scale migration and indeed the potential breakup of the European Union itself. What futures does scie作者: photopsia 時間: 2025-3-29 02:20
Book 2018hasising science fiction’s unique ability to estrange, exploit and reflect upon popular concerns, this book directly engages with such questions, accounting for ongoing mutations in the very nature of the European project as it does so..作者: outrage 時間: 2025-3-29 06:22
https://doi.org/10.1007/978-4-431-55924-5the chapter concludes with a study of precarity and the commodification of social life in . (Gianni Pacinotti 2011), a film that uses the trope of an impending alien invasion to shed light on latent inequalities across Italian society.作者: 庇護 時間: 2025-3-29 08:49
PIIGS to the Slaughterthe chapter concludes with a study of precarity and the commodification of social life in . (Gianni Pacinotti 2011), a film that uses the trope of an impending alien invasion to shed light on latent inequalities across Italian society.
