標(biāo)題: Titlebook: Latin American Documentary Film in the New Millennium; María Guadalupe Arenillas,Michael J. Lazzara Book 2016 The Editor(s) (if applicable [打印本頁] 作者: KEN 時(shí)間: 2025-3-21 18:01
書目名稱Latin American Documentary Film in the New Millennium影響因子(影響力)
書目名稱Latin American Documentary Film in the New Millennium影響因子(影響力)學(xué)科排名
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書目名稱Latin American Documentary Film in the New Millennium網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Latin American Documentary Film in the New Millennium被引頻次
書目名稱Latin American Documentary Film in the New Millennium被引頻次學(xué)科排名
書目名稱Latin American Documentary Film in the New Millennium年度引用
書目名稱Latin American Documentary Film in the New Millennium年度引用學(xué)科排名
書目名稱Latin American Documentary Film in the New Millennium讀者反饋
書目名稱Latin American Documentary Film in the New Millennium讀者反饋學(xué)科排名
作者: Impugn 時(shí)間: 2025-3-21 21:44
What Remains of Third Cinema? How do new strategies blend with old ones to create a kind of temporal hybridity in documentary film? How do new movements like Argentina’s . (picket-line cinema) return us to the aesthetics of forty years ago? And how do they diverge? This chapter looks at these questions by considering the evolut作者: 規(guī)章 時(shí)間: 2025-3-22 01:52
Andrés Di Tella and Argentine Documentary Filmthe most important social and political events of the twentieth and twenty-first centuries. More importantly, however, he shows how Di Tella’s work reflects a more general development of Argentine documentary filmmaking at the turn-of-the-millennium: particularly the emergence of the “subjective tur作者: FOR 時(shí)間: 2025-3-22 08:25
Displacing the “I”: Uses of the First Person in Recent Argentine Biographical Documentariesires in the 1980s: . (Rodrigo Espina, 2008) and . (Goyo Anchou and Peter Pank, 2011). The first-person enunciation in these films differs from the “memory documentaries” of the last three decades insofar as it adopts a gaze that displaces the “I” to focus on an object other than the self. Gómez’s an作者: 進(jìn)取心 時(shí)間: 2025-3-22 12:38
The “Mobility Turn” in Contemporary Latin American First-Person Documentaryts in the region and that mobility has, in fact, become a way to capture and question identity and memory, as well as the visual regimes that have dominated representative nonfictional films from the region. Following a brief outline of the historical trajectory that territorial mobility has taken i作者: MOT 時(shí)間: 2025-3-22 13:43 作者: Insulin 時(shí)間: 2025-3-22 17:22 作者: anthesis 時(shí)間: 2025-3-23 00:28 作者: FID 時(shí)間: 2025-3-23 04:05
Performance, Reflexivity, and the Languages of History in Contemporary Brazilian Documentary Filmrepresentation. This chapter analyzes a series of Brazilian documentaries concerned with subjectivity, personhood, and its particular implications for the documentary encounter. These films are just as much about their subjects as they are about (documentary) cinema as a realm in which intersubjecti作者: arthroplasty 時(shí)間: 2025-3-23 07:53 作者: Mechanics 時(shí)間: 2025-3-23 10:34 作者: 線 時(shí)間: 2025-3-23 17:11 作者: 牙齒 時(shí)間: 2025-3-23 18:24
Beyond Autobiography: Rethinking Documentary Production by the Children of the Disappearedries produced in the last fifteen years. Lattanzi analyzes documentaries by the biological children of victims of the most recent Chilean and Argentine dictatorships to show that their films have less to do with reconstructing a life . than with thinking about how subjects exist and persist in a pos作者: phytochemicals 時(shí)間: 2025-3-23 22:15 作者: 說不出 時(shí)間: 2025-3-24 05:24 作者: Adrenaline 時(shí)間: 2025-3-24 08:29
Toward a Nondiscursive Turn in Argentine Documentary Filmscriptions of Argentina’s recent past. These films do not use voice over, testimonies, or explanations; instead, they produce a poetic effect whose goal is to defamiliarize the spectator with quotidian images so that he or she can truly see them or see them otherwise. Among them, Jonathan Perel’s . 作者: 態(tài)度暖昧 時(shí)間: 2025-3-24 14:03
María Guadalupe Arenillas,Michael J. Lazzarar Preiswürdigkeit der gelieferten elektrischen Arbeit. Für die Erfüllung dieser beiden Forderungen ben?tigt jedes Elektrizit?tsversorgungsunternehmen Nachrichtenanlagen. Ohne sie würde die Bedingung der zuverl?ssigen Stromlieferung hundertprozentige Reserven für den St?rungsfall erfordern und damit 作者: SNEER 時(shí)間: 2025-3-24 17:24 作者: commonsense 時(shí)間: 2025-3-24 19:21 作者: 征兵 時(shí)間: 2025-3-25 02:37 作者: 正論 時(shí)間: 2025-3-25 05:52
Antonio Gómezer annehmen, man k?nne das dargestellte Verfahren einfach fortsetzen, also an die gezeichneten R?hren noch andere in der gleichen Schaltung anschlie?en, um jede beliebige Verst?rkung zu erzielen. Das w?re aber ein Irrtum. Denn die Schwierigkeiten wachsen mit zunehmender R?hrenzahl so stark, da? es a作者: 獸皮 時(shí)間: 2025-3-25 08:58 作者: 字形刻痕 時(shí)間: 2025-3-25 13:18 作者: 蟄伏 時(shí)間: 2025-3-25 18:30
Andrés Di Tella and Argentine Documentary Filmn” and the subsequent return to the political. The chapter therefore reads Di Tella’s cinema as a barometer for the evolution and diversity of Argentine documentary filmmaking over the past thirty years.作者: Duodenitis 時(shí)間: 2025-3-25 22:13
Displacing the “I”: Uses of the First Person in Recent Argentine Biographical Documentariesalysis suggests that the prevalence of the “subjective turn” throughout the 1990s and the first decade of the 2000s is causing filmmakers to critique the normalization of first-person enunciation that has dominated documentary filmmaking in recent years.作者: 遺產(chǎn) 時(shí)間: 2025-3-26 02:20 作者: 兒童 時(shí)間: 2025-3-26 05:07
The Politics-Commodity: The Rise of Mexican Commercial Documentary in the Neoliberal Erad values of middle- and upper-class audiences who constitute the core of Mexico’s commercial market. The author discusses and critiques how these films participate in private structures of production and circulation, akin to those of successful fiction films, and how their politics is often intentionally ambiguous so as to have wide appeal.作者: 沙發(fā) 時(shí)間: 2025-3-26 12:16
Where Are the “People”?: The Politics of the Virtual and the Ordinary in Contemporary Brazilian Docuhrough the categories of the virtual and the ordinary, Furtado discusses the disappearance of the people vis-à-vis a political horizon, while hinting that documentary seeks alternative ways of mitigating solitude and reconstituting community.作者: Arb853 時(shí)間: 2025-3-26 13:30 作者: MAOIS 時(shí)間: 2025-3-26 17:29 作者: Dri727 時(shí)間: 2025-3-27 01:02
Caught Off Guard at the Crossroads of Ideology and Affect: Documentary Films by the Daughters of Reves, social roles, and identities. In their films, male subjects, whose actions make women vulnerable, feature as “perpetrators” within the family scene. Nevertheless, the filmmakers challenge these (inherited) masculine versions of history and mobilize memory as a powerful tool to rewrite tragic experiences and affirm an identity in the present.作者: 雇傭兵 時(shí)間: 2025-3-27 03:24 作者: 感情 時(shí)間: 2025-3-27 09:05 作者: Indent 時(shí)間: 2025-3-27 10:35
Third Cinema” of the 1960s and 1970s and the more subjective.Nearly two decades into the new millennium, Latin American documentary film is experiencing renewed vibrancy and visibility on the global stage. While elements of the combative, politicized cinema of the 1960s and 1970s remain, the region’作者: 你正派 時(shí)間: 2025-3-27 13:58
Book 2016e elements of the combative, politicized cinema of the 1960s and 1970s remain, the region’s production has become increasingly subjective, reflexive, and experimental, though perhaps no less political. At the same time, Latin American filmmakers both respond to and shape global tendencies in the gen作者: invert 時(shí)間: 2025-3-27 19:32 作者: CON 時(shí)間: 2025-3-27 23:31 作者: 輕快來事 時(shí)間: 2025-3-28 03:23 作者: 開始從未 時(shí)間: 2025-3-28 06:39 作者: CLAY 時(shí)間: 2025-3-28 10:29 作者: Infusion 時(shí)間: 2025-3-28 16:05
Latin American Documentary Film in the New Millennium作者: Directed 時(shí)間: 2025-3-28 19:44 作者: ESO 時(shí)間: 2025-3-29 01:31 作者: Atrium 時(shí)間: 2025-3-29 06:14
ve turn” of the 1990s and 2000s and the move beyond it; the ethics of the encounter between the filmmaker and the subject/object of his or her gaze; and the performance of truth and memory, a particularly urgent topic as Latin American countries have transitioned from dictatorship to democracy..978-1-137-49523-5作者: 厚顏無恥 時(shí)間: 2025-3-29 09:00 作者: 碳水化合物 時(shí)間: 2025-3-29 12:21
hren k?nnen. Auch das Problem der wirtschaftlichen Spitzendeckung kann in allgemeiner Form nicht ohne die Hilfe einer jederzeit verfügbaren und betriebssicheren Nachrichtenanlage gel?st werden. Schlie?lich fordert neuerdings die Wehrpolitik in vielen L?ndern zuverl?ssige Nachrichtenanlagen für die E作者: 盲信者 時(shí)間: 2025-3-29 19:23
Michael J. Lazzaratswerke zu sperren. Mit der raschen Entwicklung des Verbundbetriebes sah man sich jedoch gen?tigt, auch den Frequenzbereich von 150 kHz bis 300 kHz in Anspruch zu nehmen. Die zahlreichen werks-eigenen Nachrichtenanlagen mit Tr?gerfrequenzen oberhalb von 150 kHz k?nnten ohne Gef?hrdung der Fernstromv作者: 斜坡 時(shí)間: 2025-3-29 21:59 作者: 水土 時(shí)間: 2025-3-30 01:22
Antonio Gómezmerantenne und Lautsprecher empfangen, so wird eine ausgiebigere Hochfrequenzerst?rkung notwendig. Dabei werden freilich auch alle St?rungen, die z. T. von den R?hren selbst herrühren, mit verst?rkt, so da? unter Umst?nden eine h?here Verst?rkung die Telephonie nicht besser, sondern schlechter hervo作者: craving 時(shí)間: 2025-3-30 08:01 作者: hedonic 時(shí)間: 2025-3-30 10:56 作者: FILLY 時(shí)間: 2025-3-30 14:27 作者: Explicate 時(shí)間: 2025-3-30 19:35 作者: Condescending 時(shí)間: 2025-3-31 00:35
http://image.papertrans.cn/l/image/581878.jpg作者: Hemoptysis 時(shí)間: 2025-3-31 04:31 作者: BADGE 時(shí)間: 2025-3-31 06:42 作者: 紀(jì)念 時(shí)間: 2025-3-31 09:41
herung, ihrer historischen Entwicklung und den zukünftigen Entwicklungstendenzen ergeben. Damit wird ein Rahmen gezogen, dessen Basislinie durch die klassischen Funktionen der Qualit?tssicherung, d.h. Planen, Prüfen und Lenken der Qualit?t, und hier besonders durch die heutige Auspr?gung der Qualit?
