標(biāo)題: Titlebook: Everyday Representations of War in Late Modernity; Nerijus Milerius,Agn? Naru?yt?,Lukas Bra?i?kis Book 2022 The Editor(s) (if applicable) [打印本頁] 作者: 助手 時(shí)間: 2025-3-21 19:14
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作者: Exposition 時(shí)間: 2025-3-21 20:26 作者: Thymus 時(shí)間: 2025-3-22 04:06 作者: Definitive 時(shí)間: 2025-3-22 04:55
Vision Machine and Modern Warfare: Visualising Invisible Powers of Images in Harun Farocki and Hitoge is a ‘visual bite, vulnerable to virtually infinite remediation’ (Joselit 2013: XIV–XV). Unlike analogue images, digital images are therefore versatile and malleable. Their material qualities are readily reproducible—digital images can be resized, stretched, copied and pasted to operate beyond th作者: GRIN 時(shí)間: 2025-3-22 09:47 作者: CYN 時(shí)間: 2025-3-22 14:06
2946-3335 representations are analysed by developing theories of war as a ‘magic spectacle’, also by using such concepts as spectres, triumph and trauma, collective social catastrophes, forensic architecture and others..978-3-031-07137-9978-3-031-07135-5Series ISSN 2946-3335 Series E-ISSN 2946-3343 作者: CYN 時(shí)間: 2025-3-22 19:41 作者: 美食家 時(shí)間: 2025-3-22 22:04
William R. Dubin M.D.,Robert Stolberg M.D.n rituals taking place every half-year. But in the 1980s, such ideological signs became the focus of ‘rogue’ art photographers and cinematographers. Their ironic and reflective images worked as dislocating counter-memorials against the stale reconstructions of the past.作者: 好色 時(shí)間: 2025-3-23 04:49
P. Agarwal,L. Romano,H. Prosch,G. Schuellery and the expansion of capitalism, but it also provided by means of its ability to reproduce the photographic images a new means to reconsider the past in the present. That is, early cinema allowed the modern imagination to speak to its own time.作者: 中止 時(shí)間: 2025-3-23 07:28 作者: adhesive 時(shí)間: 2025-3-23 10:08 作者: 袖章 時(shí)間: 2025-3-23 17:02 作者: DEMUR 時(shí)間: 2025-3-23 20:30 作者: heirloom 時(shí)間: 2025-3-24 00:09
2946-3335 entations of war with the relevant Western European contexts.This book analyses photographic and cinematographic representations of war and its memorialisation rituals in the period of late modernity from the perspectives of cultural sociology, philosophy, art theory and film studies. It reveals how作者: MIR 時(shí)間: 2025-3-24 04:29 作者: 翅膀拍動(dòng) 時(shí)間: 2025-3-24 09:21
H. Alkadhi,S. Leschka,S. Wildermuth discusses how the elided trauma of the Second World War, especially the one prolonged by the subsequent Soviet occupation in Lithuania, an Eastern European country, can be detected from the architecture of war presented in photographs.作者: abject 時(shí)間: 2025-3-24 11:51
Introduction,however, do not stop affecting the everyday and its processes. A similar phenomenon can be observed with war: during peacetime, the routine flow of life is separated from direct manifestations of war, but the traces of war traumas and their representations are nevertheless integrated into the everyday.作者: 上漲 時(shí)間: 2025-3-24 18:01
The Architecture of Lingering War in Everyday Life: Photography and the Double Time of Military App discusses how the elided trauma of the Second World War, especially the one prolonged by the subsequent Soviet occupation in Lithuania, an Eastern European country, can be detected from the architecture of war presented in photographs.作者: 山羊 時(shí)間: 2025-3-24 19:24
Lucas L. Geyer,Ulrich Linsenmaierown at their feet or somewhere on the floor, some hang their heads but look up at the screen from underneath their eyebrows, and others hold their heads in their hand they could not otherwise hold up their weary eyes and heads due to the distress caused by the shocking images before them (Fig. 6.2).作者: Picks-Disease 時(shí)間: 2025-3-25 02:46
The Erasure of War Crimes and their Visualisation in Post-Soviet Eastern European Cinema,own at their feet or somewhere on the floor, some hang their heads but look up at the screen from underneath their eyebrows, and others hold their heads in their hand they could not otherwise hold up their weary eyes and heads due to the distress caused by the shocking images before them (Fig. 6.2).作者: Nefarious 時(shí)間: 2025-3-25 05:56 作者: ELUC 時(shí)間: 2025-3-25 09:56 作者: Spartan 時(shí)間: 2025-3-25 15:39 作者: jaunty 時(shí)間: 2025-3-25 17:47 作者: anchor 時(shí)間: 2025-3-25 22:40 作者: 彩色 時(shí)間: 2025-3-26 02:21 作者: 翻動(dòng) 時(shí)間: 2025-3-26 06:40
The Architecture of Lingering War in Everyday Life: Photography and the Double Time of Military Applitary action. Yet the speed and the surprise built into the core of such events means that war is mostly documented .. Instead of picturing dramatic action, most photographs show how effectively time deletes the damage of war, how quickly the drama disperses in everyday life. The temporal parallax 作者: 書法 時(shí)間: 2025-3-26 12:30
The Erasure of War Crimes and their Visualisation in Post-Soviet Eastern European Cinema,hem facing the screen at the front of the hall. The faces of the spectators are completely invisible, but the image on the screen showing the corpses stacked in rows is very visible indeed. The second photograph shows the same hall photographed from the front. The screen is not visible, but the face作者: 量被毀壞 時(shí)間: 2025-3-26 13:48
,In Between Hauntology and Representation: Spectres of War in Sergei Loznitsa’s , and Deimantas Narktheorists and philosophers within the framework of studies of modernity and the everyday life (cf. Orr 1993; Charney and Schwartz eds. 1995; Doane 2002; Pomerance 2006). In her book ., Mary Ann Doane observes that in the nineteenth century questions about time, memory and subjectivity were relocated作者: AVID 時(shí)間: 2025-3-26 20:14 作者: 背信 時(shí)間: 2025-3-27 00:01
From Sites of Atrocities to Films of Death and Vice Versa,s that this has left in the daily lives of those who live in today’s society. Sigmund Freud once defined wartime and peacetime as two different modes of existence (Freud 1918: 41). However, what is supposed to function as incompatible opposites, in certain circumstances intertwines into a coherent f作者: 脾氣暴躁的人 時(shí)間: 2025-3-27 02:32 作者: 凹槽 時(shí)間: 2025-3-27 07:15
Identities and Modernities in Europehttp://image.papertrans.cn/e/image/317494.jpg作者: placebo 時(shí)間: 2025-3-27 11:19 作者: glomeruli 時(shí)間: 2025-3-27 16:20
Daniel Purcell,Bryan A. Terry,Brian R. Sharpit is a natural consequence of the distinct experiences of the Second World War on the eastern and western fronts, which inescapably constituted different communities of memory. On the other hand, the memory of war is profoundly shaped through discourse and politics at the national, regional and glo作者: archenemy 時(shí)間: 2025-3-27 17:57
Ann W. Birk Ph.D.,Ellen L. Bassuk M.D.o defend against it. The memory is referred to as a ‘screen’ insofar as it ‘screens out’ something considered unacceptable to the ego. Screen memories are characterised by their acute visual clarity and apparent insignificance. The vivid recollection of ostensibly mundane, everyday occurrences leads作者: Hla461 時(shí)間: 2025-3-27 22:35 作者: 閃光你我 時(shí)間: 2025-3-28 02:25 作者: Vaginismus 時(shí)間: 2025-3-28 10:20
Lucas L. Geyer,Ulrich Linsenmaierhem facing the screen at the front of the hall. The faces of the spectators are completely invisible, but the image on the screen showing the corpses stacked in rows is very visible indeed. The second photograph shows the same hall photographed from the front. The screen is not visible, but the face作者: Mitigate 時(shí)間: 2025-3-28 11:48
P. Agarwal,L. Romano,H. Prosch,G. Schuellertheorists and philosophers within the framework of studies of modernity and the everyday life (cf. Orr 1993; Charney and Schwartz eds. 1995; Doane 2002; Pomerance 2006). In her book ., Mary Ann Doane observes that in the nineteenth century questions about time, memory and subjectivity were relocated作者: 形容詞詞尾 時(shí)間: 2025-3-28 18:21
Emergency Radiology of the Head and Spinety that I discuss here. Since the end of the twentieth century, as a consequence of the historically unprecedented development of digital technologies, the circulation of images in all spheres of modern life has become as ubiquitous as never before. Concentrating only on the iconographic and represe
