標題: Titlebook: London on Film; Pam Hirsch,Chris O‘Rourke Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 British Cinema.Urban Studies.Arch [打印本頁] 作者: 傳家寶 時間: 2025-3-21 18:45
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作者: quiet-sleep 時間: 2025-3-21 21:55
Wanting More: Gender, Space and Desire in , and ,,desire to have more. Each of these characters wants to broaden their experience of what it means to be a woman in 1960s Britain, and in all cases society refuses to comply. In these films, London is a site upon which their desire is fuelled and frustrated by the real—and the culturally mythologised—elements of mid-1960s social and cultural change.作者: 伙伴 時間: 2025-3-22 03:51 作者: neuron 時間: 2025-3-22 06:36 作者: cortisol 時間: 2025-3-22 10:47
London Can Take It: Documentary Reconstructions of the City, (1942), . (1944), and . (1946), this chapter examines these strategies and the use of urban space to mobilise the nation. It argues that these films construct images of wholeness from fragments of a bombed landscape and, more broadly, considers documentary as a process of excavation, reconstruction, and reimagining of the familiar.作者: Ejaculate 時間: 2025-3-22 13:17 作者: 藝術(shù) 時間: 2025-3-22 19:38
Book 2017therwise) for public debate. Individual essays explore films ranging from the earliest actualities of the late nineteenth century to contemporary blockbusters. The book will appeal to film scholars and students, as well as to readers interested in the history of London and its changing image..作者: 領(lǐng)先 時間: 2025-3-23 00:57 作者: 翻動 時間: 2025-3-23 04:57
From the Docks to Notting Hill: Cinematic Mappings of Imperial and Post-Imperial London,ffers a comparative and textual analysis of the representational spaces these two very different actors inhabited in their films. This approach cuts across traditional chronologies of British cinema history to shed light on dynamic processes of cross-cultural exchange and shifting definitions of black stardom.作者: 巧思 時間: 2025-3-23 08:01
978-3-319-87916-1The Editor(s) (if applicable) and The Author(s) 2017作者: 壁畫 時間: 2025-3-23 10:34 作者: 勾引 時間: 2025-3-23 17:30
Screening Spaceshttp://image.papertrans.cn/l/image/588489.jpg作者: 虛假 時間: 2025-3-23 20:06
Introduction: Film Londons,The introduction summarises recent scholarship on cinematic representations of London, and provides an overview of the key themes and films analysed by contributors to this volume.作者: Diluge 時間: 2025-3-23 22:35 作者: 使成波狀 時間: 2025-3-24 06:11 作者: 得意人 時間: 2025-3-24 08:09 作者: 彎彎曲曲 時間: 2025-3-24 13:12
,Hitchcock’s , (1936): Conspirators and Bombs in Actual, Literary and Filmic London,was full of reports about a twenty-six-year-old French anarchist named Martial Bourdin who died from shock and haemorrhage from the bomb he was ‘feloniously handling’ in Greenwich Park. This infamous incident was one of the key inspirations for Joseph Conrad’s 1907 novel,?., his only novel to be set作者: 采納 時間: 2025-3-24 18:14 作者: 歡樂中國 時間: 2025-3-24 21:41
London Can Take It: Documentary Reconstructions of the City,o win on the home front. The city that had been seen as the ‘Great Wen’ needed to be resignified as the heart of Britain in order to build a national coalition at home and bolster the support of its allies. To achieve these aims, wartime documentaries imagined London as a city of symbols, repurposed作者: Bucket 時間: 2025-3-24 23:13 作者: Nomogram 時間: 2025-3-25 03:50
Wanting More: Gender, Space and Desire in , and ,,sions of a cultural space emerging from London in the preceding months and years. . and . were both released in 1965. One follows the fortunes of Diana Scott, a swinging subject in a frivolous and superficial London; the other weaves together the narratives of Wife, Girl and the corpse of a dead wom作者: OTTER 時間: 2025-3-25 07:51 作者: 嘮叨 時間: 2025-3-25 13:35 作者: Cleave 時間: 2025-3-25 18:46
,A Melancholy Topography: Patrick Keiller’s ,,g particularly on Keiller’s invention of the ‘Robinson’ character as an emblematically disgruntled Everyman: an urbanist swayed not so much by the ebb and flow of the Baudelairean crowd as the blips and dips of the free market economy, whose observations transform the familiar city into a strange ‘a(chǎn)作者: 顯示 時間: 2025-3-25 23:08
From Dogpower to Ratropolis: London in Animated Film,This chapter demonstrates the creative vitality of the animated tradition’s engagement with London through an exemplary analysis of three fully animated, feature-length films set in the metropolis: . (1961), . (1986), and . (2006). These mainstream films all feature anthropomorphic creatures as prot作者: crucial 時間: 2025-3-26 02:24 作者: 充氣女 時間: 2025-3-26 05:15 作者: A保存的 時間: 2025-3-26 12:03
,The Cinematic Revival of ‘Low London’ in the Age of Speculative Urbanism,ple, an article published in ., evocatively titled ‘A Tortured Heap of Towers: The London Skyline of Tomorrow’, offers 3D images of the London skyline of the future, concentrating on a series of new skyscrapers deemed ‘the cluster’. For Gwyn Richards, head of design of the City of London’s planning 作者: 同時發(fā)生 時間: 2025-3-26 15:41
London in Transition: Sites of Melancholy,. Opening with a discussion of two versions of Lionel Bart’s song, ‘Fings Ain’t Wot They Used T’Be’, the chapter argues against a generalised nostalgia for the vanished city. Instead it seeks to demonstrate the importance of attention to the particularity of what has been lost, its formal presentati作者: endarterectomy 時間: 2025-3-26 17:01 作者: Nutrient 時間: 2025-3-27 00:23
,‘Local Film Subjects’: Suburban Cinema, 1895–1910,ng has become a part of local history, leaving its mark through blue plaques and street names, contributing to a sense of local identity, and also serving as a source of visual material for the local historian. This, again, is true of most studio-based filmmaking in London, pointing to a further res作者: 音樂學者 時間: 2025-3-27 02:54
Glamour and Crime: The London Nightclub in Silent Film,specific space. London nightclubs in 1920s British films are spaces of leisure, but vice and crime always occurs in their margins—in the streets, offices, and other spaces that surround them. Nightclubs were a uniquely modern space in 1920s London, encapsulating the era’s quest for new music, dance,作者: JAUNT 時間: 2025-3-27 05:29
,Hitchcock’s , (1936): Conspirators and Bombs in Actual, Literary and Filmic London, the street markets, or going to the cinema, travelling by bus, or tram or tube, and arguably these images suggest a form of social cohesion. The lingering shots of the faces of Londoners cheerfully finding their way out of the Underground by holding up matches and cigarette lighters following the p作者: debris 時間: 2025-3-27 12:16 作者: hysterectomy 時間: 2025-3-27 15:59
From Dogpower to Ratropolis: London in Animated Film,lms to explore aspects of London in playful and distinctive ways. Moreover, the setting of each film in a different period (mid-twentieth century, .-.-. and twenty-first century respectively) constructs a layered historical imaginary. This is particularly evident in the way their respective narrativ作者: 恭維 時間: 2025-3-27 19:59
Skateboard City: London in Skateboarding Films,h camcorder footage of the burgeoning street-skateboarding scene of the 1990s (raising issues of subculture, urban space and masculinity) through to today’s scene, where a plethora of art-based films, documentaries, social media clips and guerrilla-style advertising have become an integral part of a作者: thalamus 時間: 2025-3-27 23:55
, and the Construction of Cult Space in Millennial London,lennial London. Drawing on fan studies and work on cult films Newland further argues that the film facilitates the constriction of ‘cult space’, not least through its encouragement of fan pilgrimages.作者: GNAW 時間: 2025-3-28 04:58 作者: BET 時間: 2025-3-28 09:58
London in Transition: Sites of Melancholy,e and place produced within each, and the different kinds of loss anticipated and explored. This study is concerned with the peculiar ability of film to offer its audiences images of what was once part of the material city and is now gone, and with both the tense and tone of these meditations. The g作者: 出沒 時間: 2025-3-28 14:28
,East–West: Reflections on the Changing Cinematic Topography of London,onsumerism and mobility, while . (2002) showed an ‘immigrant London’ that coexists alongside the many other London identities. With the current proliferation of public and private screens in London, and the ability of viewers to create their own images of the city using cameraphones, we may ask: wha作者: lactic 時間: 2025-3-28 16:28
Erratum to: Housing Policy and Building Types: From , to ,-,,作者: 梯田 時間: 2025-3-28 22:44 作者: 抗原 時間: 2025-3-29 02:33
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