標(biāo)題: Titlebook: East Asian Cinemas; Regional Flows and G Vivian P. Y. Lee (Assistant Professor) Book 2011 Palgrave Macmillan, a division of Macmillan Publi [打印本頁] 作者: satisficer 時間: 2025-3-21 16:12
書目名稱East Asian Cinemas影響因子(影響力)
書目名稱East Asian Cinemas影響因子(影響力)學(xué)科排名
書目名稱East Asian Cinemas網(wǎng)絡(luò)公開度
書目名稱East Asian Cinemas網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱East Asian Cinemas被引頻次
書目名稱East Asian Cinemas被引頻次學(xué)科排名
書目名稱East Asian Cinemas年度引用
書目名稱East Asian Cinemas年度引用學(xué)科排名
書目名稱East Asian Cinemas讀者反饋
書目名稱East Asian Cinemas讀者反饋學(xué)科排名
作者: 有權(quán)威 時間: 2025-3-21 20:39
Transnational Trajectories in Contemporary East Asian Cinemasce in the West than it does at present” remains valid in the year 2010 (2008: 2). Of course, as the name of the blog indicates, Hollywood does behave like a vulture in relation to other cinemas, devouring their cultures for its own profit and moving from one dish to the next wherever it finds a new 作者: 通知 時間: 2025-3-22 02:27 作者: Cryptic 時間: 2025-3-22 08:37
Bicycle Thieves and Pickpockets in the “Desert of the Real”: Transnational Chinese Cinema, Postmoderon of the Real, while Deleuze looks for “reasons to believe in this world.”.) The relationship of the “real” to the postmodern culture of the spectacle characteristic of late-capitalism continues to be a central concern of contemporary philosophy and critical cultural theory.作者: Blatant 時間: 2025-3-22 12:47
“Asia” as Regional Signifier and Transnational Genre-Branding: The Asian Horror Omnibus Movies , anderning its generic conventions. It is certainly true that numerous Asian countries have long and prolific traditions of cinematic horror. However, it is only recently that the traditions of specific countries have been brought together under the rubric of “Asia.” In these circumstances, Asian horror作者: 樂意 時間: 2025-3-22 16:12
J-Horror and Kimchi Western: Mobile Genres in East Asian Cinemasginning with the political democratization in 1992, the massive program of commercialization and globalization orchestrated by the state and large multinational corporations (. in Korean) has given rise to the phenomenon of “record-breakers” or Korean blockbusters,. a number of which have gained art作者: 樂意 時間: 2025-3-22 17:14 作者: Instinctive 時間: 2025-3-23 00:25
Cinematic Imagination of Border-Crossing in Hong Kong and the Pearl River Delta: henzhen, Guangzhou, Shanghai, and Singapore, all contributed to motivating Hong Kong to reposition and redefine itself in relation to China, and particularly to the PRD. Integration with the PRD is loudly voiced by official and private promoters alike. For example, The Better Hong Kong Foundation, a作者: Cardiac 時間: 2025-3-23 03:13
“Working Through China” in the Pan-Asian Film Network: Perspectives from Hong Kong and Singapore status as . Chinese cinematic maverick par excellence in our times. The hidden message of the Olympic slogan, “One World, One Dream” seems to be that China is as open to the world as the world is converging upon a kaleidoscopic “China dream” with wonder, apprehension, and pragmatic optimism.作者: LAP 時間: 2025-3-23 06:22 作者: 門窗的側(cè)柱 時間: 2025-3-23 13:14
https://doi.org/10.1007/978-3-642-52006-8ce in the West than it does at present” remains valid in the year 2010 (2008: 2). Of course, as the name of the blog indicates, Hollywood does behave like a vulture in relation to other cinemas, devouring their cultures for its own profit and moving from one dish to the next wherever it finds a new 作者: 難取悅 時間: 2025-3-23 16:25 作者: 純樸 時間: 2025-3-23 20:33 作者: 先鋒派 時間: 2025-3-24 01:16
Kazuo Nakashima,Kazuko Yamaguchi-Shinozakierning its generic conventions. It is certainly true that numerous Asian countries have long and prolific traditions of cinematic horror. However, it is only recently that the traditions of specific countries have been brought together under the rubric of “Asia.” In these circumstances, Asian horror作者: boisterous 時間: 2025-3-24 04:16
Blossom-End Rot in Fruit Vegetablesginning with the political democratization in 1992, the massive program of commercialization and globalization orchestrated by the state and large multinational corporations (. in Korean) has given rise to the phenomenon of “record-breakers” or Korean blockbusters,. a number of which have gained art作者: patella 時間: 2025-3-24 08:58
Iyyakutty Ravi,M. Mayil Vagananr II. Neo-conservatives in Japan started to gain attention in the 1990s, as the Cold War ended and the country stepped into a spiral of depression with the burst of the bubble economy. The turbulent but prosperous days of the Shōwa period ended in 1989; Japanese society next faced the uncertainty th作者: 易彎曲 時間: 2025-3-24 11:03 作者: BOON 時間: 2025-3-24 15:14 作者: chastise 時間: 2025-3-24 19:53 作者: 分散 時間: 2025-3-25 03:02
Zueignungs-Schrift an die Republick zu Genfhenomenal success of East Asia’s popular cultural products in capturing Asian and Western markets has prompted critical rethinking of the epistemology of “Asian culture” and the geopolitical importance of the region as an intermediary between the local and the global.. Meanwhile, an expanding body o作者: Geyser 時間: 2025-3-25 04:26 作者: EVADE 時間: 2025-3-25 07:59
https://doi.org/10.1007/978-3-658-08687-9 global economy. In the words of Anthony Giddens, we are living in a new “world system.” In this system, capitalist countries led by the US enjoy hegemonic power over the political, economic, and cultural resources of the world. Since its accession to the World Trade Organization (WTO), China also h作者: Biomarker 時間: 2025-3-25 14:58 作者: 宏偉 時間: 2025-3-25 18:34
,überlegungen zum F?higkeits-Management,Kong audiences. Bondmania, in respect of film adaptations rather than Ian Fleming’s literary works, has swept this former crown colony back to the 1960s. The fictional MI6 super agent 007, incarnated by Sean Connery, Roger Moore, and Pierce Brosnan in . (1967), . (1974), and . (2002) respectively, h作者: daredevil 時間: 2025-3-25 23:06 作者: inclusive 時間: 2025-3-26 03:09
Blossom-End Rot in Fruit Vegetablesegotiation between indigenous traditions and what were considered “modern” cinematic codes in the evolution of film art. Chinese cinema scholarship has produced a fascinating account of how these various positions are argued, debated, rethought and revised, particularly the controversy over the exac作者: 止痛藥 時間: 2025-3-26 07:27
Iyyakutty Ravi,M. Mayil Vagananfor its war responsibilities. After World War II, Japan recovered rapidly and emerged as a world economic power, but its influence in international politics did not match up to the strength of its economy. From the 1970s, when Tanaka Kakuei visited China to resume normal diplomatic relations through作者: amygdala 時間: 2025-3-26 09:31
Ratna Karan,Prasanta K. Subudhin is placed high on both the political and economic agenda for Hong Kong’s development in the twenty-first century.. For a long time, the relationship between Hong Kong and the PRD was defined largely in economic terms, that is, the dominant mode of “front shop, back factory” referring to a partners作者: kidney 時間: 2025-3-26 15:41
Pushpika Udawat,Priyanka Deveshwarnwards, several blockbuster films collaboratively produced by film companies from Mainland China, Hong Kong, Japan, and South Korea, including ., and ., have been released. These films have not only integrated the regional film industries, capital, internationally known filmmaking personnel and popu作者: Ethics 時間: 2025-3-26 18:42 作者: 最后一個 時間: 2025-3-26 21:24 作者: Contracture 時間: 2025-3-27 05:09
Book 2011This book is an original volume of essays that sheds new and critical light on current and emerging filmmaking trends and practices in China, Taiwan, Hong Kong, Japan and South Korea.?A timely and important contribution to existing scholarship in the field.作者: nascent 時間: 2025-3-27 08:08
https://doi.org/10.1057/9780230307186China; cinema; film; Framing; Hollywood; humour; identity; Japan; Korea; national identity; postmodernism; tech作者: 可觸知 時間: 2025-3-27 13:22
978-1-349-32559-7Palgrave Macmillan, a division of Macmillan Publishers Limited 2011作者: Hippocampus 時間: 2025-3-27 16:06
Overview: This book is an original volume of essays that sheds new and critical light on current and emerging filmmaking trends and practices in China, Taiwan, Hong Kong, Japan and South Korea.?A timely and important contribution to existing scholarship in the field.978-1-349-32559-7978-0-230-30718-6作者: indubitable 時間: 2025-3-27 21:29 作者: 死亡 時間: 2025-3-28 00:26
Transnational Trajectories in Contemporary East Asian Cinemashe example of the South Korean director Bong Joon-ho’s monster movie, The Host, as “one of the most talked-about ‘crossover’ films of 2006” that seemed destined for, “if not Crouching Tiger, Hidden Dragon- sized global success, then at least cult acclaim” (2008: 1).. We now know, according to an int作者: allergen 時間: 2025-3-28 03:57
Hollywood’s Global Strategy and the Future of Chinese Cinema global economy. In the words of Anthony Giddens, we are living in a new “world system.” In this system, capitalist countries led by the US enjoy hegemonic power over the political, economic, and cultural resources of the world. Since its accession to the World Trade Organization (WTO), China also h作者: 支形吊燈 時間: 2025-3-28 09:21
Bicycle Thieves and Pickpockets in the “Desert of the Real”: Transnational Chinese Cinema, Postmoderlists” such as Sergei Eisenstein and Dziga Vertov all put forward theories of film’s relation to the “real,” that now must be reconsidered in light of cinematic postmodernism. In his seminal essay, “Postmodernism and Consumer Society,” Fredric Jameson mentions “false realisms” that “are really art a作者: 頌揚本人 時間: 2025-3-28 11:29 作者: 草率女 時間: 2025-3-28 15:02 作者: 加強防衛(wèi) 時間: 2025-3-28 21:10
J-Horror and Kimchi Western: Mobile Genres in East Asian Cinemasegotiation between indigenous traditions and what were considered “modern” cinematic codes in the evolution of film art. Chinese cinema scholarship has produced a fascinating account of how these various positions are argued, debated, rethought and revised, particularly the controversy over the exac作者: 來自于 時間: 2025-3-29 00:59 作者: DNR215 時間: 2025-3-29 06:00
Cinematic Imagination of Border-Crossing in Hong Kong and the Pearl River Delta: n is placed high on both the political and economic agenda for Hong Kong’s development in the twenty-first century.. For a long time, the relationship between Hong Kong and the PRD was defined largely in economic terms, that is, the dominant mode of “front shop, back factory” referring to a partners作者: dapper 時間: 2025-3-29 09:33 作者: chiropractor 時間: 2025-3-29 15:15 作者: Budget 時間: 2025-3-29 17:08
“Working Through China” in the Pan-Asian Film Network: Perspectives from Hong Kong and Singaporesing influence of Mainland China in the region, both as a lucrative market and an emerging film production center. Chinese-language films, and indeed popular mainstream cinema at large, nowadays can hardly avoid confronting, directly or indirectly, the cultural, economic, and political realities of 作者: Complement 時間: 2025-3-29 22:55
In the Name of “Asia”: Practices and Consequences of Recent International Film Co-Productions in Eas., have been released. These films have not only integrated the regional film industries, capital, internationally known filmmaking personnel and popular stars to target the Asian market, but also forged ahead into the global film market by labeling themselves as “Asian productions” or “Asian films.”作者: 定點 時間: 2025-3-30 01:36 作者: Original 時間: 2025-3-30 06:41
Framing Tokyo Media Capital and Asian Co-Productionhnologies. Yet co-productions do not only signal desires for the production of this ever-emergent Asia. If regionalism, like globalization, is a “complex, conflicting and indeterminate process,” then the regional co-production is also a window into its conflicts, complexities, and negotiations.
