標(biāo)題: Titlebook: Culture Wars and Horror Movies; Gender Debates in Po Noelia Gregorio-Fernández,Carmen M. Méndez-García Book 2024 The Editor(s) (if applicab [打印本頁(yè)] 作者: LH941 時(shí)間: 2025-3-21 19:54
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作者: FADE 時(shí)間: 2025-3-22 00:09 作者: Somber 時(shí)間: 2025-3-22 04:16 作者: 飾帶 時(shí)間: 2025-3-22 06:43 作者: 手銬 時(shí)間: 2025-3-22 09:34
Decay and Fear: , (2011) as Social Horroratization of the end of the world in its portrayal of the contingent relation between the destruction of nature and social constructs such as gender or family as they are problematized by capitalist materialism and patriarchy. Thus, this chapter analyzes the ways in which . explores anxieties about 作者: BRUNT 時(shí)間: 2025-3-22 15:41
(2020): White Supremacist Masculinities and Black Lives Matters in the Trump Eranto two sections: one examines the conflict between the characters Dr. Henley and Senator Denton, and the other considers the significance of Captain Jasper’s violent acts perpetrated against the character Amara. Making use of these scenes, we explore how Senator Denton and Captain Jasper employ con作者: BRUNT 時(shí)間: 2025-3-22 20:23 作者: 四海為家的人 時(shí)間: 2025-3-22 21:27 作者: APEX 時(shí)間: 2025-3-23 01:42 作者: 得罪 時(shí)間: 2025-3-23 08:28 作者: Mangle 時(shí)間: 2025-3-23 10:48
C. West Churchman‘s Legacy and Related Worksal traditions of gender violence. They do question but nonetheless do not resist the temptation to capitalize on representations of the subversive woman as monstrous, which emerges as a resilient site of fear, especially, as I argue, in a post-MeToo world.作者: 滔滔不絕的人 時(shí)間: 2025-3-23 16:34
In Search of an Ethical Sciencensiders the phenomenon of justified female sacrifice in the form of physical and emotional disposability, as both Western and, more specifically, white man’s cultural phenomena, resulting in its normalization in a culture of isolation and (emotional) detachment within a globalized community as its m作者: BOLUS 時(shí)間: 2025-3-23 19:36 作者: 無(wú)辜 時(shí)間: 2025-3-23 22:55 作者: Brittle 時(shí)間: 2025-3-24 02:29 作者: 寵愛(ài) 時(shí)間: 2025-3-24 07:20
https://doi.org/10.1007/978-0-387-36542-8naugh, as well as industry conditions that allowed horror cinema to turn back to the political and put more women in the director’s chair. From there, the chapter will provide synoptic overviews of each cycle, highlighting representative themes across a collective of films and their relation to the 作者: cluster 時(shí)間: 2025-3-24 14:01 作者: 是限制 時(shí)間: 2025-3-24 18:00
Women in Organized Crime in Argentina’s bond is principally shown in the second part of the film (called “Detour”), quite stranded from civilization and within the natural and suburban environment, reinforced by the presence of the abject.作者: 臨時(shí)抱佛腳 時(shí)間: 2025-3-24 20:54 作者: Harass 時(shí)間: 2025-3-25 01:57
John P. Gigch (Professor Emeritus)and oppression and discusses the ways witchcraft grants (or does not grant) agency to women. Finally, the chapter addresses how this dark fairy tale uncovers fears and anxieties regarding intersecting hierarchies of gender and religion and its implications for the current sociocultural landscape in the United States.作者: ANN 時(shí)間: 2025-3-25 05:56 作者: 事情 時(shí)間: 2025-3-25 08:01 作者: judiciousness 時(shí)間: 2025-3-25 11:50
Book 2024their way into gender, focusing on the post-2010 US context and its fundamental political divisions..Approaching these topics from feminist and postfeminist theories to ecocritical views, this volume explores how contemporary horror movies engage with the current context of “culture wars.”.作者: Unsaturated-Fat 時(shí)間: 2025-3-25 17:25
Panagiotou Mihalis,Grigoriadou Mariar and politics form a seamless connection. New culture wars have constructed today’s United States public opinion in polarized terms, wrangling over issues of abortion, homosexuality, religion, feminism, multiculturalism, popular culture, education, and what it means to be American.作者: 松軟 時(shí)間: 2025-3-25 22:42
Introduction: Culture Wars Revisited: Navigating Gender Dynamics in Post-2010 Social Horror,r and politics form a seamless connection. New culture wars have constructed today’s United States public opinion in polarized terms, wrangling over issues of abortion, homosexuality, religion, feminism, multiculturalism, popular culture, education, and what it means to be American.作者: 空洞 時(shí)間: 2025-3-26 01:05
uding religion, transnational issues, and ecocritical.Highli.Navigating a polarized society in their representation of social values, twenty-first-century horror films critically frame conflicting and divisive ideological issues. Culture Wars and Horror Movies: Gender Debates in post-2010 US Horror 作者: engrossed 時(shí)間: 2025-3-26 05:10 作者: avenge 時(shí)間: 2025-3-26 10:10
John P. Gigch (Professor Emeritus)uctures the fundamental dialectics of contemporary culture wars. Divisive conflicts between irreducible identities based on emotional, post-enlightened affections have taken over mainstream debates on actual, effectual, and effective politics, so much so that populism(s) arguably need to deploy extr作者: 強(qiáng)化 時(shí)間: 2025-3-26 14:51 作者: 放逐 時(shí)間: 2025-3-26 17:41
In Search of an Ethical Science 2019), this chapter suggests, is . (Aster, 2019) original horrific place or ., while everything else is symbolically organized around it. Noting the allegorical potential of Aster’s film, . horror locus is conceived in relation to the notion of . or “pleasance,” an established literary . for an ide作者: 愚笨 時(shí)間: 2025-3-27 00:16 作者: Terminal 時(shí)間: 2025-3-27 02:12 作者: 沙發(fā) 時(shí)間: 2025-3-27 06:38 作者: Acupressure 時(shí)間: 2025-3-27 09:40 作者: 破裂 時(shí)間: 2025-3-27 15:13
https://doi.org/10.1007/978-0-387-36542-8 as they relate to the #MeToo movement. This chapter identifies three overlapping but thematically distinct cycles that are labeled MeToo horror films, including the gaslighting cycle, the captive women cycle, and the trauma cycle. In brief, gaslighting films wrestle with the psychological aspects o作者: aerial 時(shí)間: 2025-3-27 18:13 作者: extinguish 時(shí)間: 2025-3-28 01:59 作者: oxidize 時(shí)間: 2025-3-28 05:26
https://doi.org/10.1007/978-3-031-53278-8Cultural studies; film studies; American ideology; women’s studies; popular culture; culture wars; horror作者: 被詛咒的人 時(shí)間: 2025-3-28 06:44 作者: 浸軟 時(shí)間: 2025-3-28 13:36 作者: AMOR 時(shí)間: 2025-3-28 18:06 作者: 借喻 時(shí)間: 2025-3-28 20:45
Introduction: Culture Wars Revisited: Navigating Gender Dynamics in Post-2010 Social Horror,l practice. Twenty-first-century culture wars, encapsulated in a not-so-latent populism, have become a form of polarization and simplification of social interests and political ideas, poised to accomplish the unity of the people above and against its parts, and constituting a political mode where wa作者: 敬禮 時(shí)間: 2025-3-28 22:58
Woke Gal Gone Bad: Populism and Gender Trouble in , (2021)uctures the fundamental dialectics of contemporary culture wars. Divisive conflicts between irreducible identities based on emotional, post-enlightened affections have taken over mainstream debates on actual, effectual, and effective politics, so much so that populism(s) arguably need to deploy extr作者: 前兆 時(shí)間: 2025-3-29 04:15
Living Deliciously? The Borderless Horror of Female Empowermenteld, and the bonds they form emerge as sites of terror. Emanuele de Feudis’s . (., 2020), ángel Gómez Hernández’s . (., 2020), and Robert Eggers’s . (2015) capitalize on culturally specific traditions of misogyny and present female bodies as repository of ancestral horror. In ., the desperate ghost 作者: FAWN 時(shí)間: 2025-3-29 10:31
The Culture That “Can’t Anymore”: Ari Aster’s , (2019) as Pilgrimage of a Traumatized Society 2019), this chapter suggests, is . (Aster, 2019) original horrific place or ., while everything else is symbolically organized around it. Noting the allegorical potential of Aster’s film, . horror locus is conceived in relation to the notion of . or “pleasance,” an established literary . for an ide作者: esoteric 時(shí)間: 2025-3-29 14:26
Nature: Creation, Apocalypse, Climate Skepticism, and Darren Aronofsky’s , (2017)or the more ambitious art film containing overt biblical allegories and disturbing themes. Aronofsky, known for the religious themes in his work, invested . with numerous references to the Hebrew Bible and New Testament. This allegorical film can be easily read as a visual sermon on creation and env作者: ATP861 時(shí)間: 2025-3-29 16:29 作者: Folklore 時(shí)間: 2025-3-29 21:34
Decay and Fear: , (2011) as Social Horrorlast couple of decades. Movies exploring ecological horror have articulated changing viewpoints on the human damage to nature, reminding the audience of the alterations in climate and nature and their detrimental ramifications in the biosphere and human life. Though nature has been perceived as a ha
