作者: cyanosis 時(shí)間: 2025-3-21 23:13 作者: cylinder 時(shí)間: 2025-3-22 03:10
Unsettling Empathies: Screen, Gender, and Traumatic Memory,same woman, Lushe, offers a more detailed, voluntary testimonial of her trauma, this time to her husband. Yet, as she gives an account of the events that led to her rape, she is again offscreen, as the camera rests on her husband’s pained face instead. Her husband had just returned from captivity an作者: laxative 時(shí)間: 2025-3-22 05:00
Happily Sick: Trauma, Nation, and Queer Affect,triarchal, heteronormative rule to nationalist tendencies. Yet, what remained out of reach in such frameworks is a consideration of queer desire outside of the binary framework that has to perpetually pit it against heteronormativity in order to position it as visible or readable (Jela?a 2012). In t作者: PET-scan 時(shí)間: 2025-3-22 12:31
Post-Yugoslav Heritage Cinema and the Futurity of Nostalgia,o the sense of collective belonging of a community by way of tapping into an imagined, or mythical, past. The construction of such past is often premised on a sense of common ethnic or national belonging, and more than representing a detached form of inorganic, prosthetic memory that is not a part o作者: Indicative 時(shí)間: 2025-3-22 13:41
Youth (Sub)Cultures and the Habitus of Postmemory,linity in Serbia at the time, when tough-guy criminals and their turbo folk girlfriends were celebrated as exemplary performances of the ideal national coupling (a reiteration of ethno-nationalist ideology in the form of what here might be appropriately called “turbo-patriarchy”). As Bjeli? has argu作者: Indicative 時(shí)間: 2025-3-22 20:13 作者: Sinus-Rhythm 時(shí)間: 2025-3-23 01:11
Teaching, Occupational and Further Education memory is an always already lost battle. Instead of finite conclusions, there are only fleeting impressions, tendencies, and trajectories than one can detect and try to give temporary coherence to. This, perhaps, might at times be unsatisfying as an analytical exercise for some, but when it comes t作者: 枯萎將要 時(shí)間: 2025-3-23 03:19
https://doi.org/10.1007/978-3-658-28797-9y thing that remains long after she herself had disappeared without a trace. The film itself calls attention not only to the inadequacy of the photograph to capture the girl’s story, but also to its necessity. A frame—not only of photography, but also of cinema—functions as a trigger for memory and 作者: 移植 時(shí)間: 2025-3-23 08:09 作者: FRAUD 時(shí)間: 2025-3-23 10:15
https://doi.org/10.1007/978-3-8349-6164-8triarchal, heteronormative rule to nationalist tendencies. Yet, what remained out of reach in such frameworks is a consideration of queer desire outside of the binary framework that has to perpetually pit it against heteronormativity in order to position it as visible or readable (Jela?a 2012). In t作者: 掙扎 時(shí)間: 2025-3-23 15:59 作者: 我要威脅 時(shí)間: 2025-3-23 19:03
Philosophy of Engineering and Technologylinity in Serbia at the time, when tough-guy criminals and their turbo folk girlfriends were celebrated as exemplary performances of the ideal national coupling (a reiteration of ethno-nationalist ideology in the form of what here might be appropriately called “turbo-patriarchy”). As Bjeli? has argu作者: Halfhearted 時(shí)間: 2025-3-24 01:41
Mauricio Ulloa,Curt Brubaker,Peng Cheeic) memory, but also creates memory as such, such displacements, unintended or voluntary, reveal memory as always already replete with gaps, errors, and inconsistencies as much as it is with knowable facts. If . in postwar German cinema reflects “the right thing at the wrong place, the wrong thing a作者: Medicare 時(shí)間: 2025-3-24 04:25 作者: insincerity 時(shí)間: 2025-3-24 07:51 作者: Fibrinogen 時(shí)間: 2025-3-24 12:47
The Editor(s) (if applicable) and The Author(s) 2016作者: 心胸開闊 時(shí)間: 2025-3-24 18:52
Dislocated Screen Memory978-1-137-50253-7Series ISSN 2634-5951 Series E-ISSN 2634-596X 作者: 中止 時(shí)間: 2025-3-24 20:37 作者: depreciate 時(shí)間: 2025-3-25 00:10 作者: 注入 時(shí)間: 2025-3-25 06:17
Teaching, Occupational and Further Educationings rather than a rigidly defined concept. Often, this book is about challenging standard understandings of each of the four rather than stabilizing their meanings. But more than anything, it is about their relationship in the elusive cultural context broadly defined by the term “post-Yugoslav cine作者: PSA-velocity 時(shí)間: 2025-3-25 07:31
https://doi.org/10.1007/978-3-658-28797-9een war, screen, trauma, and memory, of a kind previously unseen in regional filmmaking. By tracing a fragmented and never fully knowable history of war’s trauma, Dor?evi? weaved together a poetic film—Petar Volk refers to it as “elegy” (1986: 169)—that simultaneously speaks to the importance of att作者: Lipohypertrophy 時(shí)間: 2025-3-25 14:57 作者: Dorsal-Kyphosis 時(shí)間: 2025-3-25 16:24 作者: 榨取 時(shí)間: 2025-3-25 23:24
Schema and Structured Data Markup,ory is partial: things get forgotten, misremembered, repressed” (1995: 184). Memory is constructed through cinema in multifold ways. Sometimes it is an indirect effect of giving the spectator “prosthetic memory” (Landsberg 2004), whereby one acquires, through cinema, inauthentic memories of events t作者: 大包裹 時(shí)間: 2025-3-26 02:29 作者: 復(fù)習(xí) 時(shí)間: 2025-3-26 05:04 作者: 預(yù)防注射 時(shí)間: 2025-3-26 10:16
Introduction: War Trauma as Screen Memory,ings rather than a rigidly defined concept. Often, this book is about challenging standard understandings of each of the four rather than stabilizing their meanings. But more than anything, it is about their relationship in the elusive cultural context broadly defined by the term “post-Yugoslav cine作者: 生氣地 時(shí)間: 2025-3-26 12:47 作者: lipoatrophy 時(shí)間: 2025-3-26 17:32 作者: pulmonary 時(shí)間: 2025-3-27 00:56 作者: evanescent 時(shí)間: 2025-3-27 05:11
Post-Yugoslav Heritage Cinema and the Futurity of Nostalgia,ory is partial: things get forgotten, misremembered, repressed” (1995: 184). Memory is constructed through cinema in multifold ways. Sometimes it is an indirect effect of giving the spectator “prosthetic memory” (Landsberg 2004), whereby one acquires, through cinema, inauthentic memories of events t作者: compose 時(shí)間: 2025-3-27 06:41 作者: conifer 時(shí)間: 2025-3-27 10:31
Conclusion: The Child, the Quiet War Film, and the Power of Alternative Scenarios,e, “memory is everything” (1995: 178), then these two seemingly paradoxical truths are perpetually negotiated in the process of arriving at meaning—often through incongruities more than seamless logic. In his analysis of terror and trauma in German cinema post-1945, Thomas Elsaesser finds that the f作者: Cholecystokinin 時(shí)間: 2025-3-27 16:55
10樓作者: visceral-fat 時(shí)間: 2025-3-27 18:04
10樓作者: 1分開 時(shí)間: 2025-3-28 00:53
10樓
