標題: Titlebook: European Cinema and Television; Cultural Policy and Ib Bondebjerg,Eva Novrup Redvall,Andrew Higson Book 2015 The Editor(s) (if applicable) [打印本頁] 作者: 歸納 時間: 2025-3-21 19:39
書目名稱European Cinema and Television影響因子(影響力)
書目名稱European Cinema and Television影響因子(影響力)學科排名
書目名稱European Cinema and Television網絡公開度
書目名稱European Cinema and Television網絡公開度學科排名
書目名稱European Cinema and Television被引頻次
書目名稱European Cinema and Television被引頻次學科排名
書目名稱European Cinema and Television年度引用
書目名稱European Cinema and Television年度引用學科排名
書目名稱European Cinema and Television讀者反饋
書目名稱European Cinema and Television讀者反饋學科排名
作者: antidote 時間: 2025-3-21 20:21
European Cinema and Television978-1-137-35688-8Series ISSN 2634-615X Series E-ISSN 2634-6168 作者: 占卜者 時間: 2025-3-22 03:55 作者: Aromatic 時間: 2025-3-22 06:21 作者: Lyme-disease 時間: 2025-3-22 12:04 作者: 招待 時間: 2025-3-22 13:11
Die Aufgabenstellung der Untersuchung,opean movies on television? In this chapter, I begin to answer these questions through a case study of a German focus group, and by developing an appropriate theoretical and methodological framework. I should stress that the case study itself is a very modest and exploratory piece of work. It is not作者: 招待 時間: 2025-3-22 20:45 作者: BRIEF 時間: 2025-3-22 22:55 作者: Aprope 時間: 2025-3-23 03:10
https://doi.org/10.1007/978-3-663-04676-9ork. At the European level, the MEDIA programmes (now part of Creative Europe) and the Eurimages fund form its most prominent elements. As the film sector in Europe is in the midst of a digital transition, their further articulation will contribute to how future borders in this sector will be shaped作者: 小爭吵 時間: 2025-3-23 07:09
,Werkzeugverschleiss Beim R?umen, But it is also, by definition, a European cinema, while some of its films receive European funding, and many more are distributed in other European territories besides the UK itself. What then does British cinema look like in the context of Europe? How involved in European production developments a作者: 眉毛 時間: 2025-3-23 11:08
https://doi.org/10.1007/978-3-662-26023-4 a number of contemporary Eastern European films. Images of the West, and of what it means to be a Westerner or a European, have inevitably changed over the last few decades, and in this chapter I compare images from the communist period with images that can be found in at least a small number of ar作者: FLAX 時間: 2025-3-23 14:01 作者: 有說服力 時間: 2025-3-23 21:21 作者: Encephalitis 時間: 2025-3-23 22:52 作者: IRATE 時間: 2025-3-24 03:09
,Die Wertegesellschaft: Rückführung,hange. Contingent on changing technological, economic, political and cultural factors, it is a relationship that is fragmented, episodic and in constant flux. Ireland’s situation as a small country in a big community is not unique, but a combination of features, including but not limited to, English作者: 雜色 時間: 2025-3-24 10:32
https://doi.org/10.1057/9781137356888Europe; film; television; heritage; everyday lives; media; cinema作者: Irrigate 時間: 2025-3-24 11:10 作者: 庇護 時間: 2025-3-24 15:08 作者: 攀登 時間: 2025-3-24 19:54
Film and European Identity: A German Case Studyopean movies on television? In this chapter, I begin to answer these questions through a case study of a German focus group, and by developing an appropriate theoretical and methodological framework. I should stress that the case study itself is a very modest and exploratory piece of work. It is not作者: Excise 時間: 2025-3-25 02:46 作者: Nonconformist 時間: 2025-3-25 03:38 作者: CHECK 時間: 2025-3-25 10:45 作者: 相反放置 時間: 2025-3-25 12:26
British Cinema, Europe and the Global Reach for Audiences But it is also, by definition, a European cinema, while some of its films receive European funding, and many more are distributed in other European territories besides the UK itself. What then does British cinema look like in the context of Europe? How involved in European production developments a作者: enhance 時間: 2025-3-25 19:51 作者: Rheumatologist 時間: 2025-3-25 22:46
New Voices, New Stories: Migrant Cinema and Television in Norwaynically and culturally homogenous countries have become multicultural societies through the presence of guest workers, refugees, immigrants and other groups on the move. Migrants are a heterogeneous category in terms of ethnicity, religion, social organization and traditions of expressive culture, a作者: 雜色 時間: 2025-3-26 00:22
Italian TV Drama: The Multiple Forms of European Influenceale (Straubhaar 2007), but this reconfiguration has not undermined the conception and reality of televisual space as being pre-eminently (even if not exclusively) national. Accordingly, the paraphrase of one of Mark Twain’s famous quips — rumours of the death of the nation have been greatly exaggera作者: membrane 時間: 2025-3-26 04:38
Breaking Borders: The International Success of Danish Television Dramaand community to community’ (Puttnam 1994: 357). These words by David Puttnam point to why TV drama and film matters. Through stories and images we experience and reflect on both contemporary reality and the past. Audiovisual narratives are powerful means to influence and develop our social imaginar作者: antiquated 時間: 2025-3-26 09:06 作者: 敲竹杠 時間: 2025-3-26 13:44 作者: 導師 時間: 2025-3-26 19:02 作者: 機密 時間: 2025-3-26 21:36
https://doi.org/10.1007/978-3-8350-9365-2r and Cooper 2000 for an oft-cited critique), it remains a politically diffuse category, as well as a ‘practical’ or ‘lay’ one. Notably it is one that may remain ‘unflagged’ in everyday situations, but is invoked in times of crisis.作者: Biomarker 時間: 2025-3-27 04:34
Die Aufgabenstellung der Untersuchung, the German focus group participants may lead us towards something that goes beyond this particular national context. The chapter is in part a study of media effects, but it is also in a sense a study of the effects of cultural policy, since it is implicitly about effects of subsidizing and protecti作者: acrophobia 時間: 2025-3-27 05:46
https://doi.org/10.1007/978-3-642-94280-8nremarkable depictions that an unreflexive sense of belonging to England is consolidated to constitute a kind of common sense that forms the fertile ground on which discursive nationalist sentiments can prosper.作者: Agnosia 時間: 2025-3-27 12:35 作者: catagen 時間: 2025-3-27 15:30 作者: 顯示 時間: 2025-3-27 19:49 作者: eustachian-tube 時間: 2025-3-28 01:16
,Die Wertegesellschaft: Rückführung,ic recession in Ireland in the 1980s brought with it a policy of co-production and TV drama which phased out with economic growth a decade later. In contrast, co-production deals became the norm for film production finance since the 1990s, coinciding with the emergence of EU-funded programmes under 作者: 陳腐的人 時間: 2025-3-28 03:06
Introduction: Mediated Cultural Encounters in Europeout the role European film and television already plays in the everyday life and media culture of Europeans, and the political and cultural challenges Europe faces with increased globalization and digitization.作者: 凌辱 時間: 2025-3-28 08:47
Narratives of European Identityr and Cooper 2000 for an oft-cited critique), it remains a politically diffuse category, as well as a ‘practical’ or ‘lay’ one. Notably it is one that may remain ‘unflagged’ in everyday situations, but is invoked in times of crisis.作者: tangle 時間: 2025-3-28 11:33
Film and European Identity: A German Case Study the German focus group participants may lead us towards something that goes beyond this particular national context. The chapter is in part a study of media effects, but it is also in a sense a study of the effects of cultural policy, since it is implicitly about effects of subsidizing and protecti作者: Affiliation 時間: 2025-3-28 16:01
Sensing National Spaces: Representing the Mundane in English Film and Televisionnremarkable depictions that an unreflexive sense of belonging to England is consolidated to constitute a kind of common sense that forms the fertile ground on which discursive nationalist sentiments can prosper.作者: Campaign 時間: 2025-3-28 21:26 作者: exceptional 時間: 2025-3-29 01:19
New Voices, New Stories: Migrant Cinema and Television in Norwaylation of five million. More than 50% has a European background. Of the non-Europeans, guest workers from Pakistan, Morocco and Turkey dominated the first phase of immigration in the 1970s and 1980s. During the last decade, immigrants and refugees from North Africa and the Middle East have been in t作者: Foam-Cells 時間: 2025-3-29 06:29 作者: 草本植物 時間: 2025-3-29 07:14 作者: 愉快嗎 時間: 2025-3-29 14:33 作者: 傀儡 時間: 2025-3-29 15:33 作者: Repatriate 時間: 2025-3-29 21:09 作者: gruelling 時間: 2025-3-30 03:21
Beyond Borders and into the Digital Era: Future-proofing European-level Film Support Schemes. At the same time, the evolution of these policy instruments has to be situated within borders of their own: those between different policy-making levels, as well as those between sometimes conflicting policy objectives.作者: 冥想后 時間: 2025-3-30 07:06
British Cinema, Europe and the Global Reach for Audiencesre British filmmakers, and indeed policy-makers? How important is it for UK-based filmmakers to address their films to and exploit them in European markets? How extensive is UK/European co-production activity? How widely do British films circulate in the rest of Europe, and which types of films tend to travel best?作者: Postmenopause 時間: 2025-3-30 11:54 作者: fastness 時間: 2025-3-30 13:34
https://doi.org/10.1007/978-3-663-04676-9. At the same time, the evolution of these policy instruments has to be situated within borders of their own: those between different policy-making levels, as well as those between sometimes conflicting policy objectives.作者: 雪崩 時間: 2025-3-30 17:23
,Werkzeugverschleiss Beim R?umen,re British filmmakers, and indeed policy-makers? How important is it for UK-based filmmakers to address their films to and exploit them in European markets? How extensive is UK/European co-production activity? How widely do British films circulate in the rest of Europe, and which types of films tend to travel best?
