標(biāo)題: Titlebook: Cross Generational Relationships and Cinema; Joel Gwynne,Niall Richardson Book 2020 The Editor(s) (if applicable) and The Author(s), under [打印本頁] 作者: ossicles 時(shí)間: 2025-3-21 19:21
書目名稱Cross Generational Relationships and Cinema影響因子(影響力)
書目名稱Cross Generational Relationships and Cinema影響因子(影響力)學(xué)科排名
書目名稱Cross Generational Relationships and Cinema網(wǎng)絡(luò)公開度
書目名稱Cross Generational Relationships and Cinema網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Cross Generational Relationships and Cinema被引頻次
書目名稱Cross Generational Relationships and Cinema被引頻次學(xué)科排名
書目名稱Cross Generational Relationships and Cinema年度引用
書目名稱Cross Generational Relationships and Cinema年度引用學(xué)科排名
書目名稱Cross Generational Relationships and Cinema讀者反饋
書目名稱Cross Generational Relationships and Cinema讀者反饋學(xué)科排名
作者: 放縱 時(shí)間: 2025-3-21 22:12
,R?umliche Aussteifung von Geschossbauten,aughan), her husband of more than thirty years. Unable to receive comfort and meaningful connection from both of her estranged, grown-up children—with whom she maintains a difficult relationship marked by unresolved tension—May commences an affair with her daughter’s lover, Darren (Daniel Craig), wh作者: duplicate 時(shí)間: 2025-3-22 01:07 作者: 顯而易見 時(shí)間: 2025-3-22 05:55 作者: sphincter 時(shí)間: 2025-3-22 09:43
Internationales Risikomanagement, the novice filmmaker symbolically took up the directorial baton from her mother: Nancy Meyers, a Producer on the film, and one of the foremost women filmmakers of all time. This chapter examines how . self-consciously alludes to this distinctive filmic pedigree, fostering a sense of cinematic indeb作者: 使饑餓 時(shí)間: 2025-3-22 14:16
,Betrachtung der Ver?nderungsprozesse, men often through monetary exchange or other forms of coercion. The second is the stereotype of the asexual ‘old queen’—a body whose ageing effeminacy removes him from the matrix of sexual eroticism. The two films analysed in this chapter attempt to challenge these stereotypes and revise the receiv作者: 使饑餓 時(shí)間: 2025-3-22 18:49 作者: Veneer 時(shí)間: 2025-3-22 23:29
https://doi.org/10.1007/978-3-8349-3512-0ne (Brendan Fraser), through a window frame. We cut to the interior of the director’s Hollywood home, the most prominent aspect of which is the copy of a marble relief from the Parthenon frieze depicting two semi-nude youths on horseback. This establishing moment indicates how the film constantly sh作者: FRAX-tool 時(shí)間: 2025-3-23 04:26
Schlussbetrachtung und Ausblick, younger partners in the dark comedies . (Robert Aldrich, 1968) and . (Douglas Hickox, 1970). These roles departed from the dominant representations of ageing femininity in film comedy which typically elided any suggestion of sexuality. Drawing on Mary Russo’s work on the ‘female grotesque’, the cha作者: 過剩 時(shí)間: 2025-3-23 08:46 作者: 托人看管 時(shí)間: 2025-3-23 11:26
Generalisierung des Wissenstransfermodells,ve and image, history and memory. In its foregrounding of place, the body and intimacy, and its disruption of linear history in favour of the fragmented, rhythmic, and everyday, it argues, the film operates at once as a ‘memory text’, in Annette Kuhn’s (2000) terms, and as a profoundly political cri作者: 中和 時(shí)間: 2025-3-23 15:19
Abgrenzung des Untersuchungsobjektes,ter the fall of General Suharto in 1998, when same-sex romance and transgender identities began to make a significant presence in the wave of counter-cultural filmmaking. Two films about transgender motherhood from this period are discussed in this chapter: the popular 2006 film . (Reality, Love, an作者: Glutinous 時(shí)間: 2025-3-23 19:15 作者: Aggregate 時(shí)間: 2025-3-24 01:47 作者: 凹室 時(shí)間: 2025-3-24 02:40
Joel Gwynne,Niall RichardsonAddresses the changing values and attitudes of cross generational relationships, which can be broadly defined to include sexual, romantic, and unrequited love.Focuses on the often divisive relationshi作者: 觀點(diǎn) 時(shí)間: 2025-3-24 08:26
http://image.papertrans.cn/d/image/240247.jpg作者: 有毛就脫毛 時(shí)間: 2025-3-24 12:54
Schlussbetrachtung und Ausblick,eing sexuality. The ageing spinsters at the heart of the narratives are deployed as warnings of the dangers of both family and social dysfunction, and the consequences of unbridled sexuality and the breakdown in traditional gender roles.作者: heterogeneous 時(shí)間: 2025-3-24 16:46 作者: FLOUR 時(shí)間: 2025-3-24 22:06
Book 2020 the framework of heteronormativity, and have usually explored cross generational romance in the context of older men/younger women, contemporary depictions have expanded to focus also on taboo configurations of love between older women and younger men and cross generational LGBT coupledom. Contempo作者: PARA 時(shí)間: 2025-3-25 01:36
Book 2020 socially acceptable love and transgressive desire. This collection focuses on the changing values and attitudes of cross generational relationships and addresses the often divisive relationship between the discourses of youth and ageing in popular culture. . . .作者: Macronutrients 時(shí)間: 2025-3-25 03:45 作者: palliative-care 時(shí)間: 2025-3-25 10:10
Bernhard Weller,Stefan Reich,Jan Wünschow cross generational relationships are represented unequally and differentially within popular culture, in both positive/normalized and negative/abject terms which are stratified along the lines of age, class, race and sexual orientation.作者: Myelin 時(shí)間: 2025-3-25 12:40 作者: Mirage 時(shí)間: 2025-3-25 16:59 作者: absolve 時(shí)間: 2025-3-25 23:00 作者: 淺灘 時(shí)間: 2025-3-26 01:23
Things to Come: Fertility, Futurity and the Family in ,, , and re the still unusual possibility of sexual attraction between a younger man and an older woman, they bring to the fore a sense of loss, grief, and fear, rather than any kind of celebratory or emancipatory rhetoric. Within this context, this chapter aims to answer the following questions: Do the wome作者: Endometrium 時(shí)間: 2025-3-26 07:53
Age Disproportion in the Post-Epitaph Chick Flick: Reading repute. Transparently designating its beautiful female star “mature” while relying heavily on her youthful appearance it generated a contradiction that audiences were expected to see through. In a similar way, . effects a substitution of an “angry” man of color for a sanguine one in a way that revea作者: 宏偉 時(shí)間: 2025-3-26 10:19 作者: exceptional 時(shí)間: 2025-3-26 14:19
Ageing Predators and Asexual Old Queens: Challenging Stereotypes of Cross-Generational Gay Relationsractiveness of the older gay man in contemporary society.. (LaBruce 2013) challenges the stereotype of the ‘old queen’ by narrating how a 20-year-old man falls in love with an octogenarian. Like many of LaBruce’s films, . blends the codes of pornography with narrative cinema to make the spectator co作者: 鞏固 時(shí)間: 2025-3-26 19:34 作者: 嗎啡 時(shí)間: 2025-3-26 21:01
‘Draw Me like a Statue’: Youth, Nostalgia and the Queer Past in and, from its 1950s’ setting, for a perceived utopian age in the gay imaginary. The presence of gay rights campaigner McKellen is crucial, but the film acknowledges how patriarchal power can exploit the young, whether in wars, ancient or modern, or beside an idyllic Californian pool. I argue that t作者: 磨碎 時(shí)間: 2025-3-27 01:20 作者: Offstage 時(shí)間: 2025-3-27 08:04
Impossible Spaces? Liminal Space and Cross-Generational Love in Ann Hui’s who, following a stroke, insists on retiring to a care home. It is a relationship played out in public, transient, and liminal spaces, in which the past may exist in a relation of simultaneity with the present. Through it, Hui draws out not only a history of love and mutual dependence which Roger h作者: 粘連 時(shí)間: 2025-3-27 11:02 作者: 吹牛者 時(shí)間: 2025-3-27 14:15
,R?umliche Aussteifung von Geschossbauten,questions: If women have historically been encouraged to eroticize the more distant, more powerful and patriarchal father-figure, then what are the feminist implications of seeking a lover who is significantly younger? And to what extent does the “coming out” of the desirous and desirable older woma作者: microscopic 時(shí)間: 2025-3-27 20:03
Internationales Risikomanagement,re the still unusual possibility of sexual attraction between a younger man and an older woman, they bring to the fore a sense of loss, grief, and fear, rather than any kind of celebratory or emancipatory rhetoric. Within this context, this chapter aims to answer the following questions: Do the wome作者: 越自我 時(shí)間: 2025-3-27 22:36 作者: 消散 時(shí)間: 2025-3-28 02:56
Internationales Risikomanagement,r of six films since 1998 known for their ‘chick-flick’ appeal, the critical reception of Meyers’s work has been chequered and discussion of her films frequently peppered with a derisiveness characteristic of pervasive attitudes to romcom. How does . seem to explore an awareness of Meyers-Shyer’s pl作者: FLAIL 時(shí)間: 2025-3-28 10:16
,Betrachtung der Ver?nderungsprozesse,ractiveness of the older gay man in contemporary society.. (LaBruce 2013) challenges the stereotype of the ‘old queen’ by narrating how a 20-year-old man falls in love with an octogenarian. Like many of LaBruce’s films, . blends the codes of pornography with narrative cinema to make the spectator co作者: SPER 時(shí)間: 2025-3-28 11:01
https://doi.org/10.1007/978-3-8349-3512-0Léo, a creatively blocked filmmaker, lusts after boys while fathering a child with a woman whom he randomly meets. However, the real challenge posed by the film is in relation to the social conventions of ‘a(chǎn)ge-appropriate’ physicality and sexual desirability. The most provocative sequence involves a作者: 關(guān)心 時(shí)間: 2025-3-28 14:42 作者: 省略 時(shí)間: 2025-3-28 22:34 作者: spinal-stenosis 時(shí)間: 2025-3-28 22:56 作者: 有節(jié)制 時(shí)間: 2025-3-29 06:10
Abgrenzung des Untersuchungsobjektes,’ bring into focus the ways in which the Indonesian family is transed when the transgender mother and biological child reunite after estrangement. Archipelagic intergenerational relations are intertextual and rely on the ever-shifting ways transgender characters are defined and captured in Indonesia作者: Climate 時(shí)間: 2025-3-29 08:52 作者: 冰雹 時(shí)間: 2025-3-29 13:16
Mother and Lover: Dissident Desire and the Older Woman in , and aughan), her husband of more than thirty years. Unable to receive comfort and meaningful connection from both of her estranged, grown-up children—with whom she maintains a difficult relationship marked by unresolved tension—May commences an affair with her daughter’s lover, Darren (Daniel Craig), wh作者: ETHER 時(shí)間: 2025-3-29 18:56
Things to Come: Fertility, Futurity and the Family in ,, , and bien/Roman Kalinka that ‘de toute fa?on, la femme après 40 ans est bonne à jeter à la poubelle’ [women after 40 are ready for the dustbin]. So important is this line to the film’s exploration of a middle-aged woman’s negotiation of her romantic and sexual status that it is featured in the 70 second
