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標(biāo)題: Titlebook: Gender, Cinema, Streaming Platforms; Shifting Frames in N Runa Chakraborty Paunksnis,?arūnas Paunksnis Book 2023 The Editor(s) (if applicab [打印本頁(yè)]

作者: GOLF    時(shí)間: 2025-3-21 19:15
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書(shū)目名稱(chēng)Gender, Cinema, Streaming Platforms讀者反饋




書(shū)目名稱(chēng)Gender, Cinema, Streaming Platforms讀者反饋學(xué)科排名





作者: 白楊魚(yú)    時(shí)間: 2025-3-21 21:35

作者: enflame    時(shí)間: 2025-3-22 01:23

作者: 遵循的規(guī)范    時(shí)間: 2025-3-22 05:20

作者: Lymphocyte    時(shí)間: 2025-3-22 10:06

作者: Infinitesimal    時(shí)間: 2025-3-22 15:01
New Feminist Visibilities and Sisterhood: Re-interpreting Marriage, Desire, and Self-Fulfillment in inist” influx from the west as daily engagement with brands, products, and celebrity rhetoric has endowed contemporary directors to boldly interpret desire and sexual fulfillment in cinema for an aspirational youth emboldened with the neoliberal narrative. Simultaneously, SVOD platforms like Amazon
作者: Infinitesimal    時(shí)間: 2025-3-22 20:25
Gaze Averted: Interrogating the Portrayal of Menstruation in Hindi Cinemaerefore negating women’s health in the familial budget. In spite of their best effort, the ironic novelty of representation in the films is progressive, but it lacks any real subversion for it is still nascent and tokenistic. Agency is solely derived from a capitalistic patriarchal focus rendered wi
作者: gratify    時(shí)間: 2025-3-22 23:42
: The Banality of Rape of the Indian woman protects her from sexual violence, the liberal camp claimed that emancipation of women and breaking-away from patriarchal dogmas would improve their status and contribute to their safety. Despite ideological differences, both parties analysed the circumstances of the rape in sim
作者: Ringworm    時(shí)間: 2025-3-23 03:43
On Cinematic Transformations, Gender, and Religion: An Interview with Ashish Avikunthakapitalism in which economic and political domination is exercised by financial institutions or financiers rather than by industrial capitalists. SVOD platforms, according to him, are not spaces for innovative forms of cinema. Ideologically, he concludes, these platforms continue to proliferate retro
作者: CAPE    時(shí)間: 2025-3-23 09:07
from the authors who view the shifting gender representations in postmillennial Hindi cinema and SVOD platforms from their specific ideological standpoints. The book includes a wide array of genres, from commer978-3-031-16702-7978-3-031-16700-3
作者: 的事物    時(shí)間: 2025-3-23 10:30

作者: AMEND    時(shí)間: 2025-3-23 15:13
Background Images and Image Replacement,bsequent biopolitical management as well as cultural re-fashioning of India. The chapter specifically emphasizes a gendered aspect of such anxiety which strongly stands out. The main object of the chapter not only is the biopolitics of Hindutva, which is the main ideological force behind the violenc
作者: 改革運(yùn)動(dòng)    時(shí)間: 2025-3-23 21:35

作者: 憤世嫉俗者    時(shí)間: 2025-3-24 02:01

作者: Contort    時(shí)間: 2025-3-24 05:39

作者: 單色    時(shí)間: 2025-3-24 09:45

作者: 泰然自若    時(shí)間: 2025-3-24 13:00
https://doi.org/10.1007/978-1-4302-4336-6erefore negating women’s health in the familial budget. In spite of their best effort, the ironic novelty of representation in the films is progressive, but it lacks any real subversion for it is still nascent and tokenistic. Agency is solely derived from a capitalistic patriarchal focus rendered wi
作者: theta-waves    時(shí)間: 2025-3-24 18:23
Joel H. Bortz MBChB, DMRD, FRCR, FFRRCS of the Indian woman protects her from sexual violence, the liberal camp claimed that emancipation of women and breaking-away from patriarchal dogmas would improve their status and contribute to their safety. Despite ideological differences, both parties analysed the circumstances of the rape in sim
作者: anaphylaxis    時(shí)間: 2025-3-24 20:39

作者: Console    時(shí)間: 2025-3-25 01:55
Book 2023t such concomitant process of the contraries can invoke, the book invites myriad responsesfrom the authors who view the shifting gender representations in postmillennial Hindi cinema and SVOD platforms from their specific ideological standpoints. The book includes a wide array of genres, from commer
作者: 空氣傳播    時(shí)間: 2025-3-25 06:37

作者: 干旱    時(shí)間: 2025-3-25 07:57
CT Densitometry in Osteoporosision of its authors with the implicit desire to articulate the experience of selfhood and embodiment as multiple and fragmented. The chapter takes a long detour to establish a connect between these articulations and the foundational essay by Carol Hanisch, ..
作者: ADJ    時(shí)間: 2025-3-25 13:59

作者: 痛苦一下    時(shí)間: 2025-3-25 19:07

作者: 馬賽克    時(shí)間: 2025-3-25 22:01

作者: Lament    時(shí)間: 2025-3-26 02:52
Book 2023ok will identify how the so-called feminist enunciations in twenty-first century film and SVOD content in? India are marked by an ambiguous entanglement of feminist and postfeminist rhetoric. Set against the backdrop of two significant contemporary phenomena, namely neoliberalism and the digital rev
作者: Metastasis    時(shí)間: 2025-3-26 04:26
Introduction,rs argue that although gender has been a “central issue” since the colonial times, its visibility in the discourse of India’s popular culture increased manifold after the economic liberalization in the 1990s. By providing an overview of historical debates on gender in Indian context, the introductio
作者: CHIP    時(shí)間: 2025-3-26 11:50
Biopolitics of Hindutva: Masculinity and Violence in , and as been replete with representations that are in line with the dominant, hegemonic power structures in India, especially after 2014. Indeed, we can clearly see the increased saffronization of political and cultural landscapes, and SVOD space is a digital frontier and a new ideological battlefield. D
作者: entice    時(shí)間: 2025-3-26 13:00

作者: 膠水    時(shí)間: 2025-3-26 18:25

作者: CULP    時(shí)間: 2025-3-26 23:37
and the Politics of Private Viewing on SVOD Platformsferent filmmakers under one banner, wherein the plots may actually have a common theme like social issues, horror genre, or in recent times pandemic and isolation itself becoming a common ground. . is an anthology film, released by Netflix in India and abroad on June 15, 2018, and is committed to a
作者: Amplify    時(shí)間: 2025-3-27 01:43
New Feminist Visibilities and Sisterhood: Re-interpreting Marriage, Desire, and Self-Fulfillment in ne as a protagonist in Bollywood or “mainstream” Hindi narratology post-2010 is a distinct extrapolation of a country’s changing sociocultural, economic, and political inflections. The “female led” cine-narratives while redefining gender roles and responsibilities question and explore desire in a pa
作者: ACME    時(shí)間: 2025-3-27 06:20

作者: Morsel    時(shí)間: 2025-3-27 10:39

作者: 凝視    時(shí)間: 2025-3-27 15:23
: The Banality of Rape debate in the media in recent years—following numerous rape cases. One such case that received vast public and media attention was a gang rape, which occurred on a moving bus in New Delhi on 16 December 2012, and led to the death of a the young?raped woman, Jyoti Singh. As a reaction, masses storme
作者: 撕裂皮肉    時(shí)間: 2025-3-27 19:14
Deeply Personal Is Deeply Political: New Voices in Women’s Documentary Practice in Indian Subcontineo, provoked by the post-digital condition of proliferation of image production and dissemination, have charted a fresh path in non-fiction film making that reflects their Artistic Self. A figural study of the various disruptive strategies that are mobilised by these woman directors helps us to under
作者: 枯萎將要    時(shí)間: 2025-3-28 00:29

作者: Glutinous    時(shí)間: 2025-3-28 04:08
CSR-Richtlinie-Umsetzungsgesetzrs argue that although gender has been a “central issue” since the colonial times, its visibility in the discourse of India’s popular culture increased manifold after the economic liberalization in the 1990s. By providing an overview of historical debates on gender in Indian context, the introductio
作者: 偽造    時(shí)間: 2025-3-28 09:07

作者: 類(lèi)似思想    時(shí)間: 2025-3-28 12:39
Andy Budd,Simon Collison,Cameron Molle “on-demand culture” has allowed the emergence of newer subjectivities which go beyond the socially conditioned and Bollywood-centric portrayals of Indian women. Shahana from the web series . (2015) and Tara Khanna from . (2019) embody such non-conformist subjectivities and engage with the institut
作者: 內(nèi)閣    時(shí)間: 2025-3-28 15:38
https://doi.org/10.1007/978-1-4302-5864-3pecifically interrogates the image of Indian woman as independent, empowered subject—a portrayal that not only belies the reality of Indian women but also forecloses the future of feminist activism. While cinematic representations of gender in India have?largely followed a traditional Brahmanical pa
作者: Gossamer    時(shí)間: 2025-3-28 19:16
https://doi.org/10.1007/978-1-4302-6491-0ferent filmmakers under one banner, wherein the plots may actually have a common theme like social issues, horror genre, or in recent times pandemic and isolation itself becoming a common ground. . is an anthology film, released by Netflix in India and abroad on June 15, 2018, and is committed to a
作者: 發(fā)現(xiàn)    時(shí)間: 2025-3-29 02:04
https://doi.org/10.1007/978-1-4842-4903-1ne as a protagonist in Bollywood or “mainstream” Hindi narratology post-2010 is a distinct extrapolation of a country’s changing sociocultural, economic, and political inflections. The “female led” cine-narratives while redefining gender roles and responsibilities question and explore desire in a pa
作者: 腐敗    時(shí)間: 2025-3-29 04:28





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