標(biāo)題: Titlebook: Documentary Films in India; Critical Aesthetics Aparna Sharma Book 2015 Palgrave Macmillan, a division of Macmillan Publishers Limited 201 [打印本頁] 作者: lumbar-puncture 時(shí)間: 2025-3-21 17:01
書目名稱Documentary Films in India影響因子(影響力)
書目名稱Documentary Films in India影響因子(影響力)學(xué)科排名
書目名稱Documentary Films in India網(wǎng)絡(luò)公開度
書目名稱Documentary Films in India網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Documentary Films in India被引頻次
書目名稱Documentary Films in India被引頻次學(xué)科排名
書目名稱Documentary Films in India年度引用
書目名稱Documentary Films in India年度引用學(xué)科排名
書目名稱Documentary Films in India讀者反饋
書目名稱Documentary Films in India讀者反饋學(xué)科排名
作者: Nefarious 時(shí)間: 2025-3-21 23:56 作者: cinder 時(shí)間: 2025-3-22 02:37 作者: 諂媚于性 時(shí)間: 2025-3-22 08:15
Transnational Migration and Human Securitys, constructed works themselves, address them in multiple ways. Propagandist documentaries are known to celebrate the nation state and its efforts, say with regard to war or nation-building. Documentaries of a more critical persuasion investigate the efficacies of nations. They question national ins作者: carotid-bruit 時(shí)間: 2025-3-22 12:05
https://doi.org/10.1057/9780230390744or a number of years and so they had devised their own methods for navigating through its environment. Having found a place for themselves in the school, they bore a more or less predetermined disposition in relation to it.作者: 擁護(hù)者 時(shí)間: 2025-3-22 15:42
Conclusion: Insights from Porous Spacess, mild wind, dew drops, small water streams and the pregnant silence of a dense, humid rainforest — these and many other forest sounds flowed imperceptibly into the chilly atmosphere, mixing with the everyday sounds of Manhattan. These forest sounds were from a sound installation entitled .,. devel作者: 擁護(hù)者 時(shí)間: 2025-3-22 17:35
The Bamboo Fluteach meanings to them and judge their values. Sounds are tactile and haptic because sounds arise from touch. To emit a sound some object, the source of sound, must be touched, a vibration provoked. And sounds, in turn, make objects vibrate. It is said that the sense of sound is one of the first senses we develop in our mother’s womb.作者: conference 時(shí)間: 2025-3-22 22:10 作者: 傾聽 時(shí)間: 2025-3-23 02:23
ni. It offers analysis of their documentary methods and aesthetics, exploring how their oeuvres constitute a critical and self-reflexive approach to documentary-making in India.978-1-349-48415-7978-1-137-39544-3作者: 小官 時(shí)間: 2025-3-23 08:40 作者: APO 時(shí)間: 2025-3-23 13:10
https://doi.org/10.1057/9780230390744ated themselves. . follows these inmates’ life stories and their experiences at the shelter. This is not done in a conventional voiceover-led, expository style of documentary. The film is shot principally from within the shelter and, using the principles of observational cinema, MacDougall follows the everyday goings-on here.作者: MUMP 時(shí)間: 2025-3-23 14:42
https://doi.org/10.1057/9780230390744the inmates’ interpersonal relations and their overall experiences at this institution. In its wide-ranging scope, . resembles . and, like that film, it offers a critical take on the institution, revealing profound inadequacies — material and discursive — that characterize the Prayas Home’s approach to rehabilitation.作者: 拔出 時(shí)間: 2025-3-23 19:40 作者: 大氣層 時(shí)間: 2025-3-23 23:06 作者: 灌輸 時(shí)間: 2025-3-24 06:22
Gandhi’s Childrenthe inmates’ interpersonal relations and their overall experiences at this institution. In its wide-ranging scope, . resembles . and, like that film, it offers a critical take on the institution, revealing profound inadequacies — material and discursive — that characterize the Prayas Home’s approach to rehabilitation.作者: Arbitrary 時(shí)間: 2025-3-24 07:05
Epilogueumentaries studied in this book are stand-alone interventions in that they are not accompaniments that serve broader political agendas such as awareness creation, as much activist documentary tends to be.作者: BINGE 時(shí)間: 2025-3-24 11:28
Passagege in analogue and digital formats may differ, but light remains a key ingredient of the cinematic experience. Desire Machine Collective’s (DMC) next film, . (2006, 7 mins 22 seconds) is a cinematic contemplation on light.作者: 改變 時(shí)間: 2025-3-24 15:31
Scale of Groups and Communitiese indiscriminate and vehement march of rainforest wilderness. Measured camera work follows traces of absent human figures, the labourers whose labours had once animated this site. Through this, the film projects the abandoned power plant as embodying deep senses of loss and pathos.作者: intellect 時(shí)間: 2025-3-24 20:33 作者: Diuretic 時(shí)間: 2025-3-25 00:33
Residuee indiscriminate and vehement march of rainforest wilderness. Measured camera work follows traces of absent human figures, the labourers whose labours had once animated this site. Through this, the film projects the abandoned power plant as embodying deep senses of loss and pathos.作者: 我說不重要 時(shí)間: 2025-3-25 04:09
A Turn Towards the Classical: the Documentaries of Kumar Shahani dance form. In his life, the film identifies a persistent spirit of learning and forming through dance. The film’s opening sequence, bathed in crimson-golden light, is key to establishing this spirit.作者: CAPE 時(shí)間: 2025-3-25 10:48
Book 2015This book introduces the diverse practices of three non-canonical practitioners: David MacDougall, Desire Machine Collective and Kumar Shahani. It offers analysis of their documentary methods and aesthetics, exploring how their oeuvres constitute a critical and self-reflexive approach to documentary-making in India.作者: 露天歷史劇 時(shí)間: 2025-3-25 15:01
https://doi.org/10.1057/9781137395443Documentaries in India; Phenomenology; Haptics; Nation; Documentary Poetics; Northeast India; Classicism; a作者: 搏斗 時(shí)間: 2025-3-25 17:56 作者: 輕打 時(shí)間: 2025-3-25 22:59
ni. It offers analysis of their documentary methods and aesthetics, exploring how their oeuvres constitute a critical and self-reflexive approach to documentary-making in India.978-1-349-48415-7978-1-137-39544-3作者: Protein 時(shí)間: 2025-3-26 01:45 作者: COWER 時(shí)間: 2025-3-26 04:50
Transnational Migration and Human Securityhe bodies, present or absent, of those who transact their motions. Based on such an understanding, this book examines how documentary films approach the nation. Nations, in modern times, have become crucial frameworks through which identities, histories and socio-cultural experiences are mediated. Y作者: 永久 時(shí)間: 2025-3-26 09:15
https://doi.org/10.1057/9780230390744cked glasses of rusted windows. These images recur in ., ethnographic filmmaker David MacDougall’s 2008 film about a shelter home and juvenile detention center for homeless and orphaned children in New Delhi. We could dismiss these as stereotypical images of poverty and destitution from the third wo作者: TSH582 時(shí)間: 2025-3-26 12:42
https://doi.org/10.1057/9780230390744f a new class and the second examines the experiences of a single student from that class, a Nepali boy called Abhishek Shukla. The students featured in these films provide a unique perspective on the school — an outsider-.-insider viewpoint. They are beginners who enter and explore the school; acce作者: critique 時(shí)間: 2025-3-26 20:48
https://doi.org/10.1057/9780230390744the Delhi administration for shelter and rehabilitation. Situated in northwest Delhi’s Jahangirpuri Colony,. the boarding home offers shelter, food, clothing, health care, education and vocational training to its inmates. Some inmates come here voluntarily; most are deposited either by the Delhi pol作者: Ambiguous 時(shí)間: 2025-3-27 00:50
Conclusion: Insights from Porous Spaces the Solomon R. Guggenheim Museum is livened by street vendors calling out hot dogs, roasted nuts and New York souvenirs. Visitors meet, greet and gradually quieten as they queue up to enter the museum. Melding into this everyday soundscape of the Manhattan landmark are the sounds of a distant rainf作者: 相符 時(shí)間: 2025-3-27 02:31
Epilogue: From the Sky and from the Earthon the pro-filmic—that which the camera frames and records. Likewise, watching a film entails the reception of light. We enter a dark space where a beam of changing light patterns is projected on the screen. This is the film we as viewers watch. The technical mechanisms by which light shapes the ima作者: 邪惡的你 時(shí)間: 2025-3-27 05:24 作者: 混亂生活 時(shí)間: 2025-3-27 09:38
The Legacy of Care: Women Helping Women by a setting sun meet earth’s dust rising from the hooves of cows returning after grazing. All on land are immersed in a crimson-golden glow. It is in these crimson-golden moments of . that the opening shots of Kumar Shahani’s acclaimed . (Immanence), 1991 — based on the life of the Odissi dance ma作者: 兇殘 時(shí)間: 2025-3-27 14:17 作者: ABASH 時(shí)間: 2025-3-27 19:15 作者: recession 時(shí)間: 2025-3-27 22:29 作者: 改正 時(shí)間: 2025-3-28 02:15 作者: EWE 時(shí)間: 2025-3-28 07:49
New Boys at the Doon Schoolf a new class and the second examines the experiences of a single student from that class, a Nepali boy called Abhishek Shukla. The students featured in these films provide a unique perspective on the school — an outsider-.-insider viewpoint. They are beginners who enter and explore the school; acce作者: 污穢 時(shí)間: 2025-3-28 13:03
Gandhi’s Childrenthe Delhi administration for shelter and rehabilitation. Situated in northwest Delhi’s Jahangirpuri Colony,. the boarding home offers shelter, food, clothing, health care, education and vocational training to its inmates. Some inmates come here voluntarily; most are deposited either by the Delhi pol作者: 原始 時(shí)間: 2025-3-28 18:25
An Arrested Eye: Trauma and Becoming in Desire Machine Collective’s Documentary Installations the Solomon R. Guggenheim Museum is livened by street vendors calling out hot dogs, roasted nuts and New York souvenirs. Visitors meet, greet and gradually quieten as they queue up to enter the museum. Melding into this everyday soundscape of the Manhattan landmark are the sounds of a distant rainf作者: 刺穿 時(shí)間: 2025-3-28 19:57 作者: disciplined 時(shí)間: 2025-3-29 00:49 作者: Champion 時(shí)間: 2025-3-29 05:15
A Turn Towards the Classical: the Documentaries of Kumar Shahani by a setting sun meet earth’s dust rising from the hooves of cows returning after grazing. All on land are immersed in a crimson-golden glow. It is in these crimson-golden moments of . that the opening shots of Kumar Shahani’s acclaimed . (Immanence), 1991 — based on the life of the Odissi dance ma作者: 頌揚(yáng)國(guó)家 時(shí)間: 2025-3-29 07:47 作者: Interstellar 時(shí)間: 2025-3-29 15:04 作者: 偉大 時(shí)間: 2025-3-29 15:34
Graph Algorithms mathematics. We begin with an extensive set of classical definitions from graph theory (Section 3.1). Then we review general algorithmic techniques for exploring graphs so as to impose structures on them (Sections 3.2 to 3.7). Subsequently, we discuss important graph problems that are used in many 作者: incontinence 時(shí)間: 2025-3-29 23:28 作者: maverick 時(shí)間: 2025-3-30 00:58
