標(biāo)題: Titlebook: Genre Trouble and Extreme Cinema; Film Theory at the F Troy Bordun Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 extreme c [打印本頁] 作者: 涌出 時(shí)間: 2025-3-21 18:22
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作者: alcoholism 時(shí)間: 2025-3-21 21:15
Analytische Geometrie als Modell,le with “compulsory monogamy” in a sexual epoch much more diverse than heterosexual, monogamous sex permits. The author engages Bill Nichols’s documentary film theory to assess Reygadas’s critiques and his style. Reygadas employs the profilmic event as a stylistic device. The chapter continues the w作者: Cardiac 時(shí)間: 2025-3-22 01:36 作者: 撫育 時(shí)間: 2025-3-22 06:50 作者: Amplify 時(shí)間: 2025-3-22 11:52
,I Don’t Know It When I See It: Catherine Breillat’s Pornography, to sexually explicit displays and that we should therefore do away with the notion of porn as a genre, this chapter demonstrates the genre’s shifting terrain and the merits of including Breillat within it.作者: 節(jié)約 時(shí)間: 2025-3-22 13:22 作者: 節(jié)約 時(shí)間: 2025-3-22 19:56 作者: 提名 時(shí)間: 2025-3-22 21:48 作者: Criteria 時(shí)間: 2025-3-23 03:52 作者: 牙齒 時(shí)間: 2025-3-23 05:55
Reframing Spectatorship Theory with Extreme Cinema,e perhaps been willing to grant. The chapter’s means to accomplish this is the bridge built between the theories of psychoanalysis (Lacan, ?i?ek, Burgin) and phenomenology (Marks). With the preceding chapters’ arguments in hand, an alternative method of building spectators into film theory and genre theory is proposed.作者: 寡頭政治 時(shí)間: 2025-3-23 12:41 作者: GET 時(shí)間: 2025-3-23 14:26 作者: 舔食 時(shí)間: 2025-3-23 18:20
Die Bev?lkerungspolitik der Gegenwartns the value of phenomenological film theory up to the present and its relevance to extreme cinema studies. Following these methodological sections, it provides an overview of the book and stakes of its arguments, that is, filmmakers can adopt genre conventions as a tool for ethical and political critique.作者: Hallmark 時(shí)間: 2025-3-24 02:11
Introduction: Genre Trouble and Extreme Cinema,ns the value of phenomenological film theory up to the present and its relevance to extreme cinema studies. Following these methodological sections, it provides an overview of the book and stakes of its arguments, that is, filmmakers can adopt genre conventions as a tool for ethical and political critique.作者: ATOPY 時(shí)間: 2025-3-24 04:21
Die Bewegungsgruppen der Kristallographiemonstrates why classical conceptions of horror are insufficient for understanding the conclusion of .. With the work on pornography and horror, the author stresses the link between psychoanalytic interpretations of film and spectatorship and the haptic cinematic experience, a theoretical bridging formulated more significantly in Chap. 7.作者: Intellectual 時(shí)間: 2025-3-24 06:38
https://doi.org/10.1007/978-3-322-85301-1the so-called body genres. Moreover, given the controversy of the sexual performances in . and the coercive quality of Breillat’s directorial methods and the evident traumas of Mesquida’s performances, a discussion of performance and spectatorship needs to be framed in terms of ethics.作者: defibrillator 時(shí)間: 2025-3-24 12:50 作者: neutralize 時(shí)間: 2025-3-24 15:24
On-Screen and Off-Screen Flesh and Blood: Performance, Pornography, Spectatorship,the so-called body genres. Moreover, given the controversy of the sexual performances in . and the coercive quality of Breillat’s directorial methods and the evident traumas of Mesquida’s performances, a discussion of performance and spectatorship needs to be framed in terms of ethics.作者: Charlatan 時(shí)間: 2025-3-24 21:32 作者: 名次后綴 時(shí)間: 2025-3-25 01:35 作者: calamity 時(shí)間: 2025-3-25 03:57
Conclusion: Know Genre, No Trouble,praisal of Breillat’s . (2013). This film matters for Breillat’s . as she is able in it to articulate convincingly her critiques of patriarchy not just for young and middle-aged women. .’s late-middle-aged protagonist struggles with the same forces of misogyny as her younger counterparts in the director’s previous films.作者: inflate 時(shí)間: 2025-3-25 08:50
Troy BordunDevelops a novel approach to contemporary film theory by building a bridge between seemingly incompatible scholars and concepts.Highlights the significance of extreme cinema for film theory, genre the作者: 惡名聲 時(shí)間: 2025-3-25 12:38 作者: coagulate 時(shí)間: 2025-3-25 18:25 作者: headlong 時(shí)間: 2025-3-25 20:52
Analytische Geometrie als Modell, of Reygadas’s . and, in minor ways, his three other feature films. The avant-garde approach and documentary aesthetics converge to generate Reygadas’s critiques of class relations and sexual difference. Principally, the director’s preoccupation with sexual difference manifests itself in a sex-dream作者: 危險(xiǎn) 時(shí)間: 2025-3-26 02:19
Die Bewegungsgruppen der Kristallographies establishing extreme cinema as a subgenre of pornography, naming it “.”—a term that has never quite “caught on”—few wish to study the production trend from the perspective of these genres. If extreme cinema is simultaneously pornographic and horrific while also displaying a disregard for these gen作者: Fortuitous 時(shí)間: 2025-3-26 05:39 作者: offense 時(shí)間: 2025-3-26 10:27 作者: 現(xiàn)任者 時(shí)間: 2025-3-26 15:03 作者: BARGE 時(shí)間: 2025-3-26 18:07 作者: Indicative 時(shí)間: 2025-3-27 00:32
978-3-319-88125-6The Editor(s) (if applicable) and The Author(s) 2017作者: Noctambulant 時(shí)間: 2025-3-27 04:21 作者: 偶然 時(shí)間: 2025-3-27 08:41
Carlos Reygadas, the Avant-Garde, and the Senses,ense conscious reality of the main characters as well as the dreams and fantasies of those characters—are immanent expressions of the film’s formal qualities. Further, the representation of these differing levels of reality offers a philosophical concept: dreams and fantasies are embodied experience作者: Etching 時(shí)間: 2025-3-27 11:39
,!Que Viva México!: Reygadas as Documentarian, of Reygadas’s . and, in minor ways, his three other feature films. The avant-garde approach and documentary aesthetics converge to generate Reygadas’s critiques of class relations and sexual difference. Principally, the director’s preoccupation with sexual difference manifests itself in a sex-dream作者: Accommodation 時(shí)間: 2025-3-27 16:32 作者: hereditary 時(shí)間: 2025-3-27 18:16 作者: Silent-Ischemia 時(shí)間: 2025-3-27 23:28
On-Screen and Off-Screen Flesh and Blood: Performance, Pornography, Spectatorship,f Marcos Hernández and Anapola Mushkadiz in Reygadas’s . (., 2005) and Roxane Mesquida’s challenging, if not traumatic, performance as Elena in Breillat’s . and its re-enactment in . (2002). The author brings together these three films, which have little in common, in order to draw attention to the 作者: 溫順 時(shí)間: 2025-3-28 05:57 作者: Endemic 時(shí)間: 2025-3-28 07:42
Conclusion: Know Genre, No Trouble,praisal of Breillat’s . (2013). This film matters for Breillat’s . as she is able in it to articulate convincingly her critiques of patriarchy not just for young and middle-aged women. .’s late-middle-aged protagonist struggles with the same forces of misogyny as her younger counterparts in the dire作者: Bureaucracy 時(shí)間: 2025-3-28 14:01 作者: extinguish 時(shí)間: 2025-3-28 14:40 作者: CRANK 時(shí)間: 2025-3-28 22:16 作者: 貴族 時(shí)間: 2025-3-29 01:37
Heinrich Kadenesearch, thus reaching the technical level of a scientific paper. Among other topics resonant sensors, especially bulk acoustic wave thickness shear mode resonators, chemical and bio-sensors, as well as broadband ultrasonic systems are treated in-depth. .978-3-642-09624-2978-3-540-77508-9作者: investigate 時(shí)間: 2025-3-29 04:53
Grundzüge der Lebensmittelchemies peroxidase could only be detected in erythrocytes in those animals that were not adequately, or not at all, perfused. Additionally, endogenous catalase activity could often be found in the pial blood vessels.作者: Ischemia 時(shí)間: 2025-3-29 08:40
h engineering schools and has also been appreciated by many practitioners in the field. Positive reactions from many readers made me contemplate writing a new book in English on the same subject. Encourag- ing 作者: 旁觀者 時(shí)間: 2025-3-29 14:50
