標(biāo)題: Titlebook: Gothic Cinema; An introduction Katharina Rein Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusive license to Springe [打印本頁(yè)] 作者: deep-sleep 時(shí)間: 2025-3-21 16:09
書目名稱Gothic Cinema影響因子(影響力)
書目名稱Gothic Cinema影響因子(影響力)學(xué)科排名
書目名稱Gothic Cinema網(wǎng)絡(luò)公開(kāi)度
書目名稱Gothic Cinema網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書目名稱Gothic Cinema被引頻次
書目名稱Gothic Cinema被引頻次學(xué)科排名
書目名稱Gothic Cinema年度引用
書目名稱Gothic Cinema年度引用學(xué)科排名
書目名稱Gothic Cinema讀者反饋
書目名稱Gothic Cinema讀者反饋學(xué)科排名
作者: 懶洋洋 時(shí)間: 2025-3-21 22:15 作者: AMOR 時(shí)間: 2025-3-22 01:37 作者: ARY 時(shí)間: 2025-3-22 08:12
Gothic Cinema After 1960 in Chap. . had already begun to crumble in the postwar period, after 1960, Gothic cinema changed substantially. The traditional Gothic aesthetic, previously visualised in black-and-white, was challenged by color film, by a bolder depiction of sex and violence and, finally, by the shift away from hi作者: Harbor 時(shí)間: 2025-3-22 12:01 作者: HIKE 時(shí)間: 2025-3-22 12:55
Between the Old and the Newo the domestic screen via online streaming services. Briefly analysing the TV series . (2014–2016) as an example, this chapter discusses a central dilemma that the Gothic faces: the balancing act between adapting Gothic literary classics and traditional Gothic aesthetics,?and implementing a visualit作者: HIKE 時(shí)間: 2025-3-22 17:14
The Haunting of Hill House (2018)iums, modern technical media like phonography, photography or telephony have been realigning the parameters of space and time through operations of recording, storing, and transmitting. This chapter examines the haunted house in Mike Flanagan’s 2018 adaptation of Shirley Jackson’s . (1959) as a haun作者: 冒失 時(shí)間: 2025-3-23 00:57 作者: Ordeal 時(shí)間: 2025-3-23 03:56 作者: peptic-ulcer 時(shí)間: 2025-3-23 08:55
Male Reproductive Function and Semenn down, not least because of its overlap with the horror genre and its historical mutability. This introductory chapter also discusses the Gothic in different contexts such as literature, art and architecture as well as the distinctions and similarities between the Gothic and Dark Romanticism as wel作者: 矛盾心理 時(shí)間: 2025-3-23 12:58
https://doi.org/10.1007/978-3-030-11797-9follows its own temporality and has a particular relationship to the past, this is the focus of the first section. The crucial role of the past for characters, stories, places, and aesthetics of the Gothic entails an importance of media, especially storage media. Media in the Gothic, this chapter ar作者: defibrillator 時(shí)間: 2025-3-23 15:25
Male Sterility in Flowering Plantsin early fantastic film, which was partly rooted in stage illusionism. The Gothic aesthetic was further shaped in German Expressionist cinema with its stylized set designs and chiaroscuro. These films also introduced more complex plots and a stronger interest in psychological topics, which were impo作者: Allowance 時(shí)間: 2025-3-23 19:49
https://doi.org/10.1057/9780230281752 in Chap. . had already begun to crumble in the postwar period, after 1960, Gothic cinema changed substantially. The traditional Gothic aesthetic, previously visualised in black-and-white, was challenged by color film, by a bolder depiction of sex and violence and, finally, by the shift away from hi作者: 放氣 時(shí)間: 2025-3-24 01:41
Diagnosis and Treatment of Phimosis entered mainstream media as well as lifestyle and fashion. It focuses on three main themes of this development: the metamorphosis of two of the central monsters, the zombie and the vampire, into more human, accessible characters, who become romanticized and are in some cases rendered as funny rathe作者: fluffy 時(shí)間: 2025-3-24 03:42
https://doi.org/10.1007/978-94-010-1651-3o the domestic screen via online streaming services. Briefly analysing the TV series . (2014–2016) as an example, this chapter discusses a central dilemma that the Gothic faces: the balancing act between adapting Gothic literary classics and traditional Gothic aesthetics,?and implementing a visualit作者: Employee 時(shí)間: 2025-3-24 09:34
S. E. Lewis,L. B. Barnett,L. S. Niedzielaiums, modern technical media like phonography, photography or telephony have been realigning the parameters of space and time through operations of recording, storing, and transmitting. This chapter examines the haunted house in Mike Flanagan’s 2018 adaptation of Shirley Jackson’s . (1959) as a haun作者: Pseudoephedrine 時(shí)間: 2025-3-24 12:59
Alternating Addition Copolymerizations,ries pays homage to a number of earlier adaptations and cites some of them directly. It also references discursive connotations and mutations of the vampire film and of vampirism, such as its association with addiction, disease, or the erotization of vampires and their deviant sexual desires, which 作者: hemorrhage 時(shí)間: 2025-3-24 16:02 作者: SOW 時(shí)間: 2025-3-24 22:01 作者: defendant 時(shí)間: 2025-3-25 02:42 作者: 并置 時(shí)間: 2025-3-25 05:42 作者: 表臉 時(shí)間: 2025-3-25 08:05 作者: Mosaic 時(shí)間: 2025-3-25 14:15 作者: Gossamer 時(shí)間: 2025-3-25 16:43 作者: BOGUS 時(shí)間: 2025-3-25 20:24 作者: 事物的方面 時(shí)間: 2025-3-26 02:44 作者: Leisureliness 時(shí)間: 2025-3-26 04:56 作者: 寬宏大量 時(shí)間: 2025-3-26 10:35 作者: 看法等 時(shí)間: 2025-3-26 14:49 作者: 猛擊 時(shí)間: 2025-3-26 19:14
review. On the one hand, the examples examined are representative in terms of typical elements, motifs or topoi, and on the other hand, they exhibit peculiarities and breaks that prove fruitful for a cultural and media studies investigation..978-3-658-40720-9978-3-658-40721-6作者: Preserve 時(shí)間: 2025-3-26 23:10
https://doi.org/10.1007/978-3-030-11797-9 characters, the next section looks at “monsters” and their function in the Gothic. They traditionally include revenants such as ghosts or vampires that come back from the dead. The motif of a return of the past also plays a central role in the psyches of Gothic characters, in Gothic storylines as w作者: 休閑 時(shí)間: 2025-3-27 02:20 作者: 枯燥 時(shí)間: 2025-3-27 09:12
https://doi.org/10.1057/9780230281752lm productions emerged on a wider scale internationally, introducing specificities of local cultures, materials and aesthetics into Gothic cinema, its diversification also brought forth new subtypes and opened up new fields of interest. While Postcolonial Gothic deals with various traumas caused by 作者: Libido 時(shí)間: 2025-3-27 10:59
S. E. Lewis,L. B. Barnett,L. S. Niedzielatantly interrupted by those that occurred in Hill House decades ago, reality is interrupted by dream, hallucination and fantasy, some events are shown more than once. Eventually, the story itself loops and returns to its beginning when all narrative strands and all characters come together in Hill H作者: sinoatrial-node 時(shí)間: 2025-3-27 16:50
Alternating Addition Copolymerizations,nt in Gatiss’ and Moffat’s series is blood, which is conceived of as a universal storage medium: Transmitting memories, abilities and character traits, blood is what gives Dracula skills, knowledge and power.作者: 乏味 時(shí)間: 2025-3-27 21:01
https://doi.org/10.1007/978-3-322-81291-9f ghosts. It also examines the role of media that, in a typical Gothic manner, not only store, record and transmit information but also take on the role of spiritualist mediums that convey messages from the dead.作者: 制造 時(shí)間: 2025-3-27 22:14
Between the Old and the Newemma that the Gothic faces: the balancing act between adapting Gothic literary classics and traditional Gothic aesthetics,?and implementing a visuality that excites twenty-first-century audiences and upholding ethical, political and societal values that they can identify with.作者: 斗志 時(shí)間: 2025-3-28 04:30
Book 2023. It considers Gothic Cinema as a form of unofficial historiography that allows a look not only at the history of film and its technique, but also at moral concepts, gender relations, collective fears or aesthetic currents. A delimitation and definition of the term and the central elements of the Go作者: Heterodoxy 時(shí)間: 2025-3-28 09:00 作者: 態(tài)學(xué) 時(shí)間: 2025-3-28 11:09
https://doi.org/10.1007/978-94-010-1651-3emma that the Gothic faces: the balancing act between adapting Gothic literary classics and traditional Gothic aesthetics,?and implementing a visuality that excites twenty-first-century audiences and upholding ethical, political and societal values that they can identify with.作者: neuron 時(shí)間: 2025-3-28 15:58
Diagnosis and Treatment of Phimosisadults, which are explored in the third section. The final part of this chapter discusses the work of Tim Burton, Gothic cinema’s most prominent film-maker around 2000, and his influence on its development.
