標(biāo)題: Titlebook: Ecuadorian Cinema for the 21st Century; María Fernanda Mi?o Puga Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusiv [打印本頁(yè)] 作者: protocol 時(shí)間: 2025-3-21 19:13
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書(shū)目名稱Ecuadorian Cinema for the 21st Century讀者反饋
書(shū)目名稱Ecuadorian Cinema for the 21st Century讀者反饋學(xué)科排名
作者: 供過(guò)于求 時(shí)間: 2025-3-21 23:59 作者: 光亮 時(shí)間: 2025-3-22 03:53
Commercially Released Narrative Features During the , Years,ent film days and was heavily influenced by underlying market forces. However, Chap. . only built a partial case for Ecuadorian cinema for the 21st century as a stand-alone moment in Ecuadorian film history. This and subsequent chapters expand on the theoretical, historical, and legal frameworks pro作者: 獨(dú)裁政府 時(shí)間: 2025-3-22 06:55
Making Sense of the Past: Documentary and Memory in Ecuadorian Cinema for the 21st Century,ich is considered by the local milieu as having acquired an important level of “maturity”, and also given its participation in film festivals and popular support in theatres, its inclusion in an Ecuadorian cinema for the 21st century is justified. Also, bearing in mind the social documentary roots o作者: PANIC 時(shí)間: 2025-3-22 09:35 作者: 混合,攙雜 時(shí)間: 2025-3-22 14:23
,Cinema and Ecuador’s ,: Negotiating Coloniality in the Community,te the revolutionary rhetoric found in Socialism for the 21st century, including its memory articulations. After exploring commercially released narrative features, documentaries, and films that operate at the margins of the local industry yet maintain similar aspirations of success, this chapter tu作者: 混合,攙雜 時(shí)間: 2025-3-22 20:03
Conclusions and Recommendations,icular set of production practices, aesthetic choices, and narrative themes to constitute the proposed “Ecuadorian cinema for the 21st century”. The political, commercial, and societal articulations analysed in this book have helped argue for a local film industry that presents comparable ambiguitie作者: 注意到 時(shí)間: 2025-3-23 00:48
María Fernanda Mi?o PugaFirst major English publication on Ecuadorian Cinema.Convincing and well-evidenced case for the contradictory nature of film policy and national cinemas in Latin America.An invaluable resource for stu作者: ellagic-acid 時(shí)間: 2025-3-23 02:31 作者: Heresy 時(shí)間: 2025-3-23 06:13 作者: 高原 時(shí)間: 2025-3-23 13:36 作者: 本能 時(shí)間: 2025-3-23 15:11
https://doi.org/10.1007/978-3-642-20273-5and Brazil, Ecuador is usually seen as a country with little or no film production. Scholars, such as John King (1994) and Paul Schroeder Rodríguez (2016), have used terms like “weak” and “idle” to characterise smaller cinemas in Latin America, Ecuador included, but during the mid-2000s and 2010s so作者: 半導(dǎo)體 時(shí)間: 2025-3-23 20:09 作者: 宴會(huì) 時(shí)間: 2025-3-23 23:18
https://doi.org/10.1007/978-3-8348-8280-6ent film days and was heavily influenced by underlying market forces. However, Chap. . only built a partial case for Ecuadorian cinema for the 21st century as a stand-alone moment in Ecuadorian film history. This and subsequent chapters expand on the theoretical, historical, and legal frameworks pro作者: 協(xié)定 時(shí)間: 2025-3-24 04:17 作者: 怒目而視 時(shí)間: 2025-3-24 08:04
Periodensystem der Elemente (PSE)ap. ., and its implications for narratives and documentary features in Chaps. . and .. In both discussions, Ecuadorian cinema under Socialism for the 21st century still appears to be tied to underlying neoliberal tendencies, evident in legal texts related to Ecuadorian cinema, as well as the preferr作者: 名義上 時(shí)間: 2025-3-24 10:43 作者: CURL 時(shí)間: 2025-3-24 16:16 作者: fluffy 時(shí)間: 2025-3-24 21:48
Book 2023calideology, and production practices, in an interdisciplinary approach that can be emulated in later projects.? For this purpose, the book is divided into five chapters, in addition to a brief introduction and conclusion.? Each chapter relies on specific case studies to discuss local narratives and作者: Ibd810 時(shí)間: 2025-3-25 02:13
https://doi.org/10.1007/978-3-642-20273-5 succesive terms. Similar to other governments in the region – primarily Venezuela and Bolivia, and, to a lesser extent, Uruguay, Chile, and Argentina – a progressive shift had also occurred. In this context, the apparent success of Ecuadorian cinema can be interpreted as directly influenced by this作者: Foolproof 時(shí)間: 2025-3-25 06:58 作者: 榨取 時(shí)間: 2025-3-25 09:52 作者: 調(diào)整 時(shí)間: 2025-3-25 12:02 作者: 低位的人或事 時(shí)間: 2025-3-25 17:06
Periodensystem der Elemente (PSE)pter chooses to focus on privately funded narrative features that reached commercial theatres during the . years, proposing an Ecuadorian vernacular terminology to encapsulate these films. Here, it is argued that a shared aspiration for theatrical distribution and “dreaming big”, what Ponce-Cordero 作者: parallelism 時(shí)間: 2025-3-25 22:46 作者: 閑蕩 時(shí)間: 2025-3-26 00:56 作者: 愛(ài)社交 時(shí)間: 2025-3-26 04:56
Correction to: Ecuadorian Cinema for the 21st Century,作者: Mutter 時(shí)間: 2025-3-26 09:01 作者: wreathe 時(shí)間: 2025-3-26 12:56
The Case for an Ecuadorian Cinema for the 21st Century,ng a legacy of border-crossing collaborations dating back to the early silent film era. Ecuadorian cinema is also classed as a film industry, even when not necessarily representing a mass-scale production or long-standing scholarly tradition. The fact that local filmmakers have managed to maintain a作者: 改良 時(shí)間: 2025-3-26 20:36
Commercially Released Narrative Features During the , Years,ate in contestation with hegemonic powers; at times in functions in line with such structures, commenting on poverty and underdevelopment whilst, simultaneously, aspiring to international prestige and commercial success. This argument is further substantiated by three key precursors that attest to s作者: fertilizer 時(shí)間: 2025-3-26 23:40
Making Sense of the Past: Documentary and Memory in Ecuadorian Cinema for the 21st Century,ith the state’s discourse, are more precisely a product of a shared societal makeup that rejects neoliberalism on paper but does not seem to agree upon a conclusive way forward, attesting to the same ambiguities, contradictions, and ruptures present in Socialism for the 21st century. What is left is作者: collagen 時(shí)間: 2025-3-27 02:11
,Ecuador’s Vernacular Cinema: Underground, Popular, and Neoliberal?,pter chooses to focus on privately funded narrative features that reached commercial theatres during the . years, proposing an Ecuadorian vernacular terminology to encapsulate these films. Here, it is argued that a shared aspiration for theatrical distribution and “dreaming big”, what Ponce-Cordero 作者: 耐寒 時(shí)間: 2025-3-27 06:08 作者: 改變 時(shí)間: 2025-3-27 12:36 作者: 注意 時(shí)間: 2025-3-27 13:38 作者: forthy 時(shí)間: 2025-3-27 21:07
onal cinemas in Latin America.An invaluable resource for stuEcuadorian cinema has been largely overlooked in film scholarship, usually being limited to brief descriptions in Latin American compendiums.??.Ecuadorian cinema for the 21.st.?century.?would be the first major publication in English to fil作者: prostate-gland 時(shí)間: 2025-3-27 23:55
Book 2023rian cinema for the 21.st.?century.?would be the first major publication in English to fill this gap.? It provides a thorough account of film activities during the new millennium, while also referring to the country’s previous film history.? Specifically, this book discusses the so-called ‘mini-boom作者: 矛盾心理 時(shí)間: 2025-3-28 02:15
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