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Titlebook: An Investigative Cinema; Politics and Moderni Fabrizio Cilento Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Investigative

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發(fā)表于 2025-3-23 11:40:49 | 只看該作者
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發(fā)表于 2025-3-23 23:45:20 | 只看該作者
Objectively False: French Cinema and the Algerian Question,ties of modernization while critiquing official representations of a prosperous France surging into American-style consumption patterns. References to the Algerian War are sporadic and indirect. Decolonization and accelerated modernization are deeply interrelated, with the war representing a sort of
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發(fā)表于 2025-3-24 05:26:39 | 只看該作者
,Stars and Stardom in Investigative Cinema: The Movies of Gian Maria Volonté and Gael García Bernal,e study focuses on the two versions, a decade apart (in 1976 and 1986), of Aldo Moro, the Christian Democrats president who was assassinated by Red Brigades in 1978. Volonté shot his last movies in Latin America, and it was a Mexican star that kept this heritage alive. Gael García Bernal played Erne
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發(fā)表于 2025-3-24 07:07:52 | 只看該作者
The Ontology of Replay: The Zapruder Video and American Conspiracy Films,he Zapruder footage of Kennedy’s assassination is endlessly repeated, retold, and reframed. If Hollywood’s cinematic time can be imagined as a straight line progressing toward a climax, the Zapruder video is circular—it loops like a snake devouring its own tail/tale, indirectly offering investigativ
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發(fā)表于 2025-3-24 10:53:58 | 只看該作者
Unidentified Narrative Objects: The Anti-Mafia and No-Global Films as Transmedia Adaptations,arly 2000s. An overview of broadcasting experiments against the state monopolistic system is followed by an analysis of . and . and the adaptation by Garrone of Saviano’s book .. The book unfolds firsthand information to depict Naples’ organized crime operations within the globalized economy, which
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發(fā)表于 2025-3-24 18:34:28 | 只看該作者
The Ontology of the Digital: War on Terror and Post-9/11 Visual Culture,the indexicality of the image. This confrontation created a withering of the epistemological certainties regarding history and photography-based media. The subsequent wars generated controversies over privacy and surveillance, rendition, civil rights, and prisoner abuses. These events inevitably inf
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