標(biāo)題: Titlebook: Violence, Conflict and Discourse in Mexican Cinema (2002-2015); Miriam Haddu Book 2022 The Editor(s) (if applicable) and The Author(s) 202 [打印本頁(yè)] 作者: 獨(dú)裁者 時(shí)間: 2025-3-21 16:26
書(shū)目名稱Violence, Conflict and Discourse in Mexican Cinema (2002-2015)影響因子(影響力)
書(shū)目名稱Violence, Conflict and Discourse in Mexican Cinema (2002-2015)影響因子(影響力)學(xué)科排名
書(shū)目名稱Violence, Conflict and Discourse in Mexican Cinema (2002-2015)網(wǎng)絡(luò)公開(kāi)度
書(shū)目名稱Violence, Conflict and Discourse in Mexican Cinema (2002-2015)網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱Violence, Conflict and Discourse in Mexican Cinema (2002-2015)被引頻次
書(shū)目名稱Violence, Conflict and Discourse in Mexican Cinema (2002-2015)被引頻次學(xué)科排名
書(shū)目名稱Violence, Conflict and Discourse in Mexican Cinema (2002-2015)年度引用
書(shū)目名稱Violence, Conflict and Discourse in Mexican Cinema (2002-2015)年度引用學(xué)科排名
書(shū)目名稱Violence, Conflict and Discourse in Mexican Cinema (2002-2015)讀者反饋
書(shū)目名稱Violence, Conflict and Discourse in Mexican Cinema (2002-2015)讀者反饋學(xué)科排名
作者: 不易燃 時(shí)間: 2025-3-21 20:17
https://doi.org/10.1057/978-1-137-28211-8Americas; arts; cinema; culture; directing; documentary film; film; film and television; film history; histor作者: Ballerina 時(shí)間: 2025-3-22 03:39
Miriam HadduAnalyses both commercially successful and non-commercially successful Mexican films across a thirteen-year span that saw a dramatic increase in the critical and popular attention given to Mexican cine作者: 啜泣 時(shí)間: 2025-3-22 05:36
,Drug Violence and Narco Wars Part I: Luis Estrada’s , (,) (2010),arrate a darker episode in Mexico’s recent history seen in its so-called drug war. By examining one of the earliest cinematic explorations of the social problem, this chapter provides an introductory discussion on a topic that continues to dominate mainstream national and international news headlines.作者: mutineer 時(shí)間: 2025-3-22 08:57 作者: 迫擊炮 時(shí)間: 2025-3-22 16:26
littoral States, who favour the establishment of the Ocean as a ‘zone of peace’. The lead in canvassing the proposal has been taken by Sri Lanka, which first raised it at the Non-Aligned Heads of State Conference in Cairo in October, 1964, and subsequently at the Lusaka Conference of Non-Aligned Sta作者: 包庇 時(shí)間: 2025-3-22 17:23
Miriam Haddu Fifty Years’ Crisis’. It provides a good indication of what he shared with realist thought, but also where he differed from it. It argues, first, that classical realism was a product of its time and that, whatever its earlier strengths, it had now ‘run its course’ and needed to be replaced by a foc作者: Aggregate 時(shí)間: 2025-3-23 01:00 作者: 輕快來(lái)事 時(shí)間: 2025-3-23 04:17 作者: 仇恨 時(shí)間: 2025-3-23 08:26 作者: synovitis 時(shí)間: 2025-3-23 09:51 作者: 排他 時(shí)間: 2025-3-23 16:46 作者: 馬具 時(shí)間: 2025-3-23 18:03
her notion in that work has received such conflicting commentaries, or diverse evaluations of its capacity to illuminate the difficult situation of modern art, as the thesis ascribed to Hegel that art has come to its end (cf. most recently [8]). Yet there is no critical edition of the aesthetics lec作者: 旅行路線 時(shí)間: 2025-3-24 00:29
y — 95–0 with 33 abstentions, a resolution reaffirming the idea of a zone of peace, and establishing an Ad Hoc Committee of fifteen nations to study the implications of the proposal. This Ad Hoc Committee has met during 1973 and reported to the General Assembly which on 19 December 1973 passed a mot作者: transplantation 時(shí)間: 2025-3-24 03:23 作者: 修剪過(guò)的樹(shù)籬 時(shí)間: 2025-3-24 10:33 作者: 壕溝 時(shí)間: 2025-3-24 12:44 作者: Facet-Joints 時(shí)間: 2025-3-24 17:53
Miriam Haddu?hefe stellten sich gewisse Unterschiede heraus. Der Gehalt an antineuritischem Faktor war in einer untersuchten Brauereihefe 2- bis 3 mal so hoch wie in vergleichsweise herangezogenen Pre?hefen. Dagegen war beim wachstumf?rdernden Faktor ein Unterschied kaum vorhanden. Brote, die aus Backpulver her作者: Cytology 時(shí)間: 2025-3-24 20:37 作者: Insul島 時(shí)間: 2025-3-25 00:11 作者: 佛刊 時(shí)間: 2025-3-25 04:29
ingen friends up to the Berlin lectures of the 1820’s, which presuppose the complete system of the . [7] and are the basis of Hotho’s edition. These lectures have become an independent work because of the history of their effects. However, their exceedingly complicated theoretical form, which both c作者: dainty 時(shí)間: 2025-3-25 07:31
Book 2022nce, victimhood, and the complex processing of grief in the context of enforced disappearances and the narco-conflict. In addition to examining films made in Mexico, this investigation incorporates the work of three of the nation’s most celebrated transnational directors: Guillermo del Toro, Alejand作者: 種子 時(shí)間: 2025-3-25 12:56 作者: Myelin 時(shí)間: 2025-3-25 18:16
Violence, Conflict and Discourse in Mexican Cinema (2002-2015)978-1-137-28211-8作者: CRUMB 時(shí)間: 2025-3-25 20:46
nces and the narco-conflict. In addition to examining films made in Mexico, this investigation incorporates the work of three of the nation’s most celebrated transnational directors: Guillermo del Toro, Alejand978-1-349-67071-0978-1-137-28211-8作者: Corral 時(shí)間: 2025-3-26 03:55
Introduction,olence in the chosen texts to be analyzed. The chapter outlines the overall structure of the book and the underlying drive that scrutinizes the selected films’ dialogic relationship with the context(s) of their making. The introductory chapter queries the films’ assessment of violence in society and作者: Pcos971 時(shí)間: 2025-3-26 05:16 作者: dysphagia 時(shí)間: 2025-3-26 11:23
Political Violence: The Case of , (,) (2004) and , (,) (2012), in this chapter have redefined the way in which Mexican politics can be and is presented on the screen. Carlos Bolado’s . (2012) and Jorge Ramírez Suárez’s . (2004) are examined in detail in this chapter, where the discussions demarcate the changing nature of political representation on the screen 作者: 解決 時(shí)間: 2025-3-26 16:28
,Drug Violence and Narco Wars Part I: Luis Estrada’s , (,) (2010),arrate a darker episode in Mexico’s recent history seen in its so-called drug war. By examining one of the earliest cinematic explorations of the social problem, this chapter provides an introductory discussion on a topic that continues to dominate mainstream national and international news headline作者: 袖章 時(shí)間: 2025-3-26 17:28
,Drug Violence and Narco Wars Part II: Amat Escalante’s , (2013),he image of the victim as represented in Amat Escalante’s film . (2013). The chapter analyzes how Escalante’s excruciating and dark observations on the crisis are seen through the eyes of a young innocent victim of the current narco violence. The chapter discusses the issues of violence and its repr作者: 征服 時(shí)間: 2025-3-26 21:01
,Spectral Visions: Mexican Directors in Europe (Guillermo del Toro, Alejandro González I?árritu and scussions observe the impact that these Mexican directors have had on the global film industry and take as an example their visualizations of Europe and its socioeconomic challenges. This chapter explores how the films selected for analysis demonstrate a preoccupation with an unstable European socie作者: 完成才會(huì)征服 時(shí)間: 2025-3-27 02:37 作者: insular 時(shí)間: 2025-3-27 07:19 作者: 類似思想 時(shí)間: 2025-3-27 09:35
Conclusion,r situates the examinations within the context of production for the films and demonstrates some of the conclusive evidence formed from the analyses that have taken place in the preceding chapters. It evaluates the books contribution toward discussions on the representation of violence on the screen作者: 熱心助人 時(shí)間: 2025-3-27 14:26 作者: MITE 時(shí)間: 2025-3-27 18:28 作者: ovation 時(shí)間: 2025-3-27 23:33 作者: jagged 時(shí)間: 2025-3-28 04:48 作者: cataract 時(shí)間: 2025-3-28 08:12
Textual Hybridities in , (2002),the individual’s emotional universe are explored .. The chapter examines how the loss of a beloved can have an impact on one’s life, wherein the grief-stricken protagonist in the film is driven to insanity and criminality through trauma.作者: 箴言 時(shí)間: 2025-3-28 11:15 作者: Aggregate 時(shí)間: 2025-3-28 17:50
,Drug Violence and Narco Wars Part II: Amat Escalante’s , (2013),e crisis are seen through the eyes of a young innocent victim of the current narco violence. The chapter discusses the issues of violence and its representation as performed on the body of the victim. It analyzes the representation of torture and the space inhabited by the tortured body as emblematic of social disintegration.作者: 專橫 時(shí)間: 2025-3-28 20:03
,Spectral Visions: Mexican Directors in Europe (Guillermo del Toro, Alejandro González I?árritu and nd its socioeconomic challenges. This chapter explores how the films selected for analysis demonstrate a preoccupation with an unstable European society. The chapter takes into account representations of a problematic situation of conflict and social instability from Europe’s past, present and future context.作者: Nucleate 時(shí)間: 2025-3-29 02:43
,Loss and Mourning in Documentary: Tatiana Huezo’s , (2015), families of the many disappeared, whose lives have changed irreparably following the kidnapping of their loved ones. Using as an example Tatiana Huezo’s exploration of the sense of loss and prolonged mourning found in this context, the analysis examines this condition of perpetual mourning as relayed in her short film . (2014).
