標(biāo)題: Titlebook: David Bowie and Film; Hooked to the Silver Stephen Glynn Book 2022 The Editor(s) (if applicable) and The Author(s), under exclusive license [打印本頁] 作者: Julienne 時(shí)間: 2025-3-21 18:36
書目名稱David Bowie and Film影響因子(影響力)
書目名稱David Bowie and Film影響因子(影響力)學(xué)科排名
書目名稱David Bowie and Film網(wǎng)絡(luò)公開度
書目名稱David Bowie and Film網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱David Bowie and Film被引頻次
書目名稱David Bowie and Film被引頻次學(xué)科排名
書目名稱David Bowie and Film年度引用
書目名稱David Bowie and Film年度引用學(xué)科排名
書目名稱David Bowie and Film讀者反饋
書目名稱David Bowie and Film讀者反饋學(xué)科排名
作者: Generosity 時(shí)間: 2025-3-21 22:00 作者: 發(fā)怨言 時(shí)間: 2025-3-22 00:35 作者: NUDGE 時(shí)間: 2025-3-22 06:04
Portal Hypertension in Alcoholic Cirrhosisnd comedy, then amidst an overwrought clash between Eastern and Western acting styles. By elaborating on how the films overlap with Bowie’s personal mythology and employ his unifying charisma, a (limited) defence is offered for what appear to be distinctly ‘problematic’ fits for the star’s known image.作者: 狗舍 時(shí)間: 2025-3-22 10:48
Asian Women in Leadership: An Introductionttered and pleasantly bewildering, lives up to Bowie’s promise of instability’ (., 24 March 2013). Instability: that same promise, for good and/or ill, is delivered across Bowie’s work in film, heavily represented at the exhibition, and the focus of this monograph.作者: 朝圣者 時(shí)間: 2025-3-22 14:45 作者: 朝圣者 時(shí)間: 2025-3-22 18:38 作者: 出血 時(shí)間: 2025-3-23 00:32
Frank Isgro,A.-H. Kiessling,W. Saggaurs is shown to invest his playing of inventor Nikola Tesla in the otherwise fictional .. Finally, his cameos as ‘David Bowie’ in . and . are contextualised with his status as fashion icon and internet entrepreneur.作者: placebo-effect 時(shí)間: 2025-3-23 03:45
,Bowie Goes Genre-Hopping—Comedian, Chameleon, Corinthian and Caricature,ile contrasts exist in the extent to which differing generic codes and conventions profitably intersect or ‘fit’ with the increasingly venerated star’s screen performances. To aid analysis, the chapter pairs examples that are adjudged to have contrasting levels of achievement.作者: armistice 時(shí)間: 2025-3-23 06:54
,Bowie Does Biopics—Watch That Man,rs is shown to invest his playing of inventor Nikola Tesla in the otherwise fictional .. Finally, his cameos as ‘David Bowie’ in . and . are contextualised with his status as fashion icon and internet entrepreneur.作者: conservative 時(shí)間: 2025-3-23 11:25 作者: BAIL 時(shí)間: 2025-3-23 17:53 作者: 解脫 時(shí)間: 2025-3-23 21:08
Manfred Herrmann,Ch. Huth,A. D. Ebertentre on his science fiction-inflected early career but, be it brief cameos as in . or ., the explicit Bowie-based rock biopic ., or the sustained homages of ., . and ., the personae employed are shown to remain sufficiently protean to allow for different, even contrary emphases.作者: 有惡臭 時(shí)間: 2025-3-24 00:53 作者: chandel 時(shí)間: 2025-3-24 03:06
,Bowie Does Musicals—Man of Words, Man of Music,ous late 1950s advertising executive serves also as the epitome of 1980s neoliberal capitalism. Though both works were poorly received on release, analysis of source text adaptation and genre theory are employed to make a (strong) defence for Bowie’s contribution as both singer . actor.作者: 斗志 時(shí)間: 2025-3-24 08:16 作者: 獸皮 時(shí)間: 2025-3-24 13:23
,Introduction—Sound and Vision,ront of the camera, and argues that themes central to both his musical and film career can be traced back to these ‘a(chǎn)pprentice pieces’, works that feature non-heteronormative relationships and the adoption of a stage/screen persona with the potential for psychological dislocation.作者: 外露 時(shí)間: 2025-3-24 16:07 作者: Presbyopia 時(shí)間: 2025-3-24 19:18 作者: 易彎曲 時(shí)間: 2025-3-25 03:08 作者: Juvenile 時(shí)間: 2025-3-25 03:23
Stephen GlynnAnalyzes David Bowie‘s appearances in film.Investigates how Bowie’s performative style fits harmoniously with alternative production codes and aesthetics.Combines textual analysis with production and 作者: granite 時(shí)間: 2025-3-25 09:52
http://image.papertrans.cn/d/image/263847.jpg作者: immunity 時(shí)間: 2025-3-25 15:23 作者: 借喻 時(shí)間: 2025-3-25 16:29 作者: PLUMP 時(shí)間: 2025-3-25 21:57 作者: Infusion 時(shí)間: 2025-3-26 01:26 作者: 規(guī)范就好 時(shí)間: 2025-3-26 05:08
Portal Hypertension in Alcoholic Cirrhosispart in the German inter-war epic . and then co-lead in the Japanese prisoner-of-war drama .. It explores reasons for the many negative responses elicited by these more ambitious starring roles: these are shown to include Bowie’s placement first at the centre of an uncomfortable blending of Nazism a作者: 身心疲憊 時(shí)間: 2025-3-26 10:20
Primary Biliary Cirrhosis: Pathologyy than in his historical portrayals, these feature film roles allow his transgressive status to be selectively exploited—and potentially contained. Though he appears only in the first third of the contemporary-set vampire film ., Bowie is posited as an overall shaping presence both for the film’s pr作者: 斷斷續(xù)續(xù) 時(shí)間: 2025-3-26 14:41 作者: 間諜活動(dòng) 時(shí)間: 2025-3-26 18:09
Manfred Herrmann,Ch. Huth,A. D. Ebertarances or supported low-key projects of personal interest. These roles took Bowie across several genres: comedy and cult television spin-offs with . and .; gangster films and westerns with . and ./.; soft-hearted family fantasy and hard-nosed high-finance drama with . and . (plus biopics, treated s作者: 混沌 時(shí)間: 2025-3-26 23:22
Frank Isgro,A.-H. Kiessling,W. Saggauscreen presence, the roles interpreted, coupled with the weight of his cultural capital, are here adjudged as intrinsically successful and an important narrative fulcrum to the film text in question. The parts examined are predicated as feeding into Bowie’s wider contemporary interests, reflecting w作者: OVER 時(shí)間: 2025-3-27 04:18 作者: dagger 時(shí)間: 2025-3-27 08:58 作者: BALE 時(shí)間: 2025-3-27 10:20
,Introduction—Sound and Vision,is pronouncements, song lyrics, costumes and stage design. It then explains the book’s main focus, an exploration of the films in which Bowie appeared as an actor, and sets out the methodology employed, plus the parameters for case study analysis. It finally traces Bowie’s first uncertain steps in f作者: 富足女人 時(shí)間: 2025-3-27 14:54
,Bowie as Star(man)—Loving the Alien,a genre and auteur piece, but this analysis places the film in the diachronic context of Bowie’s career preoccupations and stage/screen appearances. Thematically it examines his adoption of an alien persona and portrayal of gender fluidity: performatively it demonstrates how and why the music star a作者: curettage 時(shí)間: 2025-3-27 21:48
,Bowie Goes to War—Cracked Actor,part in the German inter-war epic . and then co-lead in the Japanese prisoner-of-war drama .. It explores reasons for the many negative responses elicited by these more ambitious starring roles: these are shown to include Bowie’s placement first at the centre of an uncomfortable blending of Nazism a作者: 繁榮地區(qū) 時(shí)間: 2025-3-28 01:37
,Bowie Does Fantasy—Scary Monsters (and Super Creeps),y than in his historical portrayals, these feature film roles allow his transgressive status to be selectively exploited—and potentially contained. Though he appears only in the first third of the contemporary-set vampire film ., Bowie is posited as an overall shaping presence both for the film’s pr作者: 時(shí)間等 時(shí)間: 2025-3-28 03:08
,Bowie Does Musicals—Man of Words, Man of Music, drive for non-conformity, Bowie’s chosen ventures involve him in examples of the musical genre at opposite cultural and commercial extremes. In ., a high-brow television work infused with a European art theatre aesthetic, Bowie acts again ‘under erasure’, deconstructing his pop idol image in his po作者: 過度 時(shí)間: 2025-3-28 06:46 作者: vibrant 時(shí)間: 2025-3-28 12:18
,Bowie Does Biopics—Watch That Man,screen presence, the roles interpreted, coupled with the weight of his cultural capital, are here adjudged as intrinsically successful and an important narrative fulcrum to the film text in question. The parts examined are predicated as feeding into Bowie’s wider contemporary interests, reflecting w作者: 后退 時(shí)間: 2025-3-28 15:15
,Bowie in Absentia—How the Others Must See the Faker,y, it is acknowledged that Bowie’s presence in absentia is most pervasive in the use of his music, and from the myriad films employing Bowie songs on their soundtrack, an indicative sample is explored to illustrate how Bowie’s music contributes to narrative direction, emotional impact and social/the作者: 臨時(shí)抱佛腳 時(shí)間: 2025-3-28 21:04 作者: HARD 時(shí)間: 2025-3-29 00:38 作者: 冷峻 時(shí)間: 2025-3-29 06:35 作者: FACET 時(shí)間: 2025-3-29 08:00 作者: inundate 時(shí)間: 2025-3-29 12:02
afety and Quality in Pediatric Hematology/Oncology and Stem Cell Transplantation.?is a valuable resource for healthcare professionals treating pediatric hematology, oncology and stem cell transplant patients..?.978-3-319-85244-7978-3-319-53790-0作者: 隼鷹 時(shí)間: 2025-3-29 18:34
Astrocyte Swelling in Liver Failure: Role of Glutamine and Benzodiazepines MSO. Agonists of the peripheral-type BZD receptor aggravated ammonia-induced swelling, whereas a peripheral BZD receptor blocker, PK 11195, diminished the extent of swelling. Our findings implicate glutamine and the peripheral-type benzodiazepine receptor in the pathogenesis of the edema associated with fulminant hepatic failure.作者: 代替 時(shí)間: 2025-3-29 21:32
W. H. Mosley,J. H. Bungeyver, as part of my personal history, I occasionally flash it in front of my teacher education students in an attempt to gain credibility. Neither do I hesitate to list those years of teaching when applying for jobs that require evidence of public school teaching experience. And, of course, I dust of作者: Phonophobia 時(shí)間: 2025-3-30 03:07
Der Aufbau der Unternehmung, einzelne Unternehmen . (Zweiter Teil), wie der betriebswirtschaftliche . verl?uft (Dritter Teil), wie es dabei zur . kommt und in welcher Weise dieser . wird, in welche . Unternehmungen geraten k?nnen und auf welche Weise ein Unternehmen zu bestehen aufh?rt (Vierter Teil).
