標(biāo)題: Titlebook: Embodiment and Horror Cinema; Larrie Dudenhoeffer Book 2014 Larrie Dudenhoeffer 2014 Horror.film studies.cinema studies.body theory.affect [打印本頁(yè)] 作者: 滋養(yǎng)物質(zhì) 時(shí)間: 2025-3-21 19:57
書(shū)目名稱Embodiment and Horror Cinema影響因子(影響力)
書(shū)目名稱Embodiment and Horror Cinema影響因子(影響力)學(xué)科排名
書(shū)目名稱Embodiment and Horror Cinema網(wǎng)絡(luò)公開(kāi)度
書(shū)目名稱Embodiment and Horror Cinema網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱Embodiment and Horror Cinema被引頻次
書(shū)目名稱Embodiment and Horror Cinema被引頻次學(xué)科排名
書(shū)目名稱Embodiment and Horror Cinema年度引用
書(shū)目名稱Embodiment and Horror Cinema年度引用學(xué)科排名
書(shū)目名稱Embodiment and Horror Cinema讀者反饋
書(shū)目名稱Embodiment and Horror Cinema讀者反饋學(xué)科排名
作者: 易于交談 時(shí)間: 2025-3-21 22:16
,Spectral Filtering: Smart Television on the “Silver Screen” in Gore Verbinski’s ,a and Richard Morgan. Samara, able to induce terrifying visions in others, drove Anna insane; moreover, Rachel, over the course of the investigation, discovers that Anna threw Samara down a well near the cabin from which the videotape came.作者: 正論 時(shí)間: 2025-3-22 01:10
or." Changing the emphasis from the contents of the film to the "organicity" of its visual and affective registers, he addresses the application of psychoanalysis, phenomenology, object-ontology, and cyborgism.978-1-349-48753-0978-1-137-40496-1作者: dilute 時(shí)間: 2025-3-22 04:44
Darkness into Light: An Introduction to the Four Tissue Types of Horror Cinema,trivial, “innocent or apparently meaningless.”. He takes this analogy further so as to define horror films as “collective nightmares,” as reactions to unconscious desires that, in a culture that values family, monogamy, cisgender identification, and the redirection of surplus sexual energies, must a作者: charisma 時(shí)間: 2025-3-22 11:15 作者: 無(wú)法解釋 時(shí)間: 2025-3-22 16:35 作者: 無(wú)法解釋 時(shí)間: 2025-3-22 20:11 作者: dermatomyositis 時(shí)間: 2025-3-22 23:58 作者: 防止 時(shí)間: 2025-3-23 03:31
,The Alllusion: Intelligent Machines, Ethical Turns, and Oren Peli’s ,y dismisses the recommendation of spiritualist Dr. Fredrichs (Mark Fredrichs) that they immediately contact a demonologist; and tosses a crucifix into the fireplace, treating it as a talismanic cause or symptom of Katie’s deteriorating mental condition. Ultimately, the demon takes control over Katie作者: Simulate 時(shí)間: 2025-3-23 08:50 作者: Esophagitis 時(shí)間: 2025-3-23 10:41 作者: Coordinate 時(shí)間: 2025-3-23 17:18
https://doi.org/10.1007/978-1-4302-3859-1trivial, “innocent or apparently meaningless.”. He takes this analogy further so as to define horror films as “collective nightmares,” as reactions to unconscious desires that, in a culture that values family, monogamy, cisgender identification, and the redirection of surplus sexual energies, must a作者: 權(quán)宜之計(jì) 時(shí)間: 2025-3-23 21:46
https://doi.org/10.1007/978-3-658-19105-4wer drain, argues that this scene allegorizes “the potentialities for horror that lie in the depths of us all … which have their source in sex.”. Raymond Durgnat agrees with Wood’s assessment, while also suggesting that this scene exaggerates and counterpoints the quickie with Sam that opens the fil作者: 油氈 時(shí)間: 2025-3-24 00:58 作者: MOT 時(shí)間: 2025-3-24 06:04
https://doi.org/10.1007/978-981-10-2708-6another media format, its title making reference to the name of Grandpa Munster’s dragster in . television sitcom. This music speaks to Zombie’s transmedia. interests, specifically regarding the convergence of electronic music and digital filmmaking in terms of the aesthetic techniques, intertextual作者: handle 時(shí)間: 2025-3-24 08:00 作者: 柔美流暢 時(shí)間: 2025-3-24 14:19 作者: Nonflammable 時(shí)間: 2025-3-24 17:22
https://doi.org/10.1007/978-3-322-93687-5torture, and the supernatural, the film does not type either He or She as an antichrist. Von Trier also does not offer any explanation of the film’s title, coyly saying in an interview, “I always thought it was a good title. It’s not really a horror film and it’s not really religious. So if it’s a g作者: 老巫婆 時(shí)間: 2025-3-24 21:15
Ecaterina Balica,Valentina Marinescu demonstrate that even films without much carnage in them, such as ., the Universal monster films, and ., or without any explicit thematization of the infidelities of the flesh, such as . or ., deserve serious reconsideration as examples of “body horror,” since they all verify, to a significant degr作者: 山頂可休息 時(shí)間: 2025-3-25 02:43
Darkness into Light: An Introduction to the Four Tissue Types of Horror Cinema,rom a psychoanalytic standpoint, as does Robin Wood, for example, often draw attention to the relationship of the cinematic experience to such Freudian orthodoxies as the revelation of sexual, violent, or self-destructive desires in the unconscious that remain inadmissible to the ego’s self-concept;作者: GRAVE 時(shí)間: 2025-3-25 04:34 作者: Hyperalgesia 時(shí)間: 2025-3-25 09:27 作者: Malcontent 時(shí)間: 2025-3-25 13:59 作者: 鳴叫 時(shí)間: 2025-3-25 16:34
,Grindhouse Ago-Go: Sounding the Collagenous Commons of Rob Zombie’s ,and genre mashup, making allusion to older horror films and incorporating dialogue from them into songs. The title for “More Human than Human,” for example, comes from the script for Ridley Scott’s . (1982), while the sample in it of a woman moaning in sexual ecstasy comes from the much more esoteri作者: RALES 時(shí)間: 2025-3-25 23:06 作者: Deceit 時(shí)間: 2025-3-26 00:30
,The Alllusion: Intelligent Machines, Ethical Turns, and Oren Peli’s , Sloat) and Katie (Katie Featherston), a 20-something couple sharing a two-story San Diego tract house. In the film’s opening scene, Micah, who regards these visitations with skepticism, if not utter disbelief, meets Katie at the front door, exclaiming, “Kiss the camera!” He uses this digital camcor作者: Eviction 時(shí)間: 2025-3-26 05:52
,“Little Children, It is the Last Time”: The Ovolutionary Trees of Lars Von Trier’s ,n the film? Its storyline seems to offer no overt clues, especially since it focuses on two characters, “He” (Willem Defoe) and “She” (Charlotte Gainsbourg), a couple recovering from the accidental death of their infant son Nick. He, an exposure therapist, resolves to take She, an ecofeminist workin作者: neurologist 時(shí)間: 2025-3-26 10:22 作者: Invertebrate 時(shí)間: 2025-3-26 16:38
978-1-349-48753-0Larrie Dudenhoeffer 2014作者: 想象 時(shí)間: 2025-3-26 16:49 作者: Ethics 時(shí)間: 2025-3-26 22:49
https://doi.org/10.1057/9781137443809Along with Herk Harvey’s . (1962) and George Romero’s . (1968), Tobe Hooper’s . (1974) represents one of the watersheds—if not .—of independent filmmaking. As film critic Joe Bob Briggs describes it:作者: AIL 時(shí)間: 2025-3-27 01:33
,Monster Mishmash: Icon, Intertext, and Integument in Tobe Hooper’s ,Along with Herk Harvey’s . (1962) and George Romero’s . (1968), Tobe Hooper’s . (1974) represents one of the watersheds—if not .—of independent filmmaking. As film critic Joe Bob Briggs describes it:作者: Mechanics 時(shí)間: 2025-3-27 06:40 作者: 有角 時(shí)間: 2025-3-27 12:19
http://image.papertrans.cn/e/image/308015.jpg作者: Aesthete 時(shí)間: 2025-3-27 13:44
https://doi.org/10.1007/978-1-4302-3859-1rom a psychoanalytic standpoint, as does Robin Wood, for example, often draw attention to the relationship of the cinematic experience to such Freudian orthodoxies as the revelation of sexual, violent, or self-destructive desires in the unconscious that remain inadmissible to the ego’s self-concept;作者: JIBE 時(shí)間: 2025-3-27 18:21
https://doi.org/10.1007/978-3-658-19105-4, Marion Crane (Janet Leigh), a real estate clerk, absconds with $40,000 in order to marry Sam Loomis (John Gavin), with whom she is carrying on an affair. She flees and, during a freak storm, checks into a desolate motel, where she meets Norman Bates (Anthony Perkins), who seems at first gentle, fr作者: 1分開(kāi) 時(shí)間: 2025-3-27 23:28 作者: Biguanides 時(shí)間: 2025-3-28 04:40
https://doi.org/10.1007/978-3-030-73014-7. These films include Danny Boyle’s . (2002); its sequel, Juan Carlos Fesnadillo’s . (2007); and William Friedkin’s . (1973), a story of demonic possession that roughly occurs over 28 days, coincidentally the number in the eighth chapter of the Gospel of Matthew, where Jesus encounters “two possesse作者: Aviary 時(shí)間: 2025-3-28 08:23 作者: confide 時(shí)間: 2025-3-28 11:05 作者: 粘 時(shí)間: 2025-3-28 18:28 作者: botany 時(shí)間: 2025-3-28 20:50
https://doi.org/10.1007/978-3-322-93687-5n the film? Its storyline seems to offer no overt clues, especially since it focuses on two characters, “He” (Willem Defoe) and “She” (Charlotte Gainsbourg), a couple recovering from the accidental death of their infant son Nick. He, an exposure therapist, resolves to take She, an ecofeminist workin作者: 代理人 時(shí)間: 2025-3-29 00:59 作者: anthropologist 時(shí)間: 2025-3-29 03:50
M. Holmdahlfficient. The only viable solution is a method, which is now called Automatic Layout Modification (ALM). It combines compaction, mask manipulation, and correction with powerful capabilities...Automatic Layout Modification, Including design reuse of the Alpha CPU in 0.13 micron SOI technology. is a w作者: 沖突 時(shí)間: 2025-3-29 09:48 作者: single 時(shí)間: 2025-3-29 14:37
S. Selvi,Manas Rath,N. N. J. Hemrom,A. Bhattacharya,A. K. Biswal chapters to management of cardiac patients on extracorporeal membrane oxygenation, hemofiltration, hemo or peritoneal dialysis and plasma exchange. Practical guidelines for cardiovascular nursing care will be also included..978-1-4471-6841-6978-1-84882-262-7作者: 凝結(jié)劑 時(shí)間: 2025-3-29 18:57
Distinguishing Rationality and Bias in Prices: Implications from Judgments of Risk and Expected Ret return to both mean-variance efficient portfolios and to the covariance between returns and a pricing kernel. However, this theory has not proved to be especially valuable in empirical work, where risk premiums are instead explained using simple factor models involving size and book-to-market equit作者: 高深莫測(cè) 時(shí)間: 2025-3-29 23:26 作者: 臥虎藏龍 時(shí)間: 2025-3-30 01:35
Conference proceedings 2020in Finance, and Alternative Trading and Investment Offerings by FinTechs.The workshop spans multiple disciplines, including analytical, technical, service, economic, sociological and behavioral sciences..
