Titlebook: Art Cinema and Neoliberalism; Alex Lykidis Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer

Orthosis

書目名稱Art Cinema and Neoliberalism影響因子(影響力)




書目名稱Art Cinema and Neoliberalism影響因子(影響力)學(xué)科排名




書目名稱Art Cinema and Neoliberalism網(wǎng)絡(luò)公開度




書目名稱Art Cinema and Neoliberalism網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Art Cinema and Neoliberalism被引頻次




書目名稱Art Cinema and Neoliberalism被引頻次學(xué)科排名




書目名稱Art Cinema and Neoliberalism年度引用




書目名稱Art Cinema and Neoliberalism年度引用學(xué)科排名




書目名稱Art Cinema and Neoliberalism讀者反饋




書目名稱Art Cinema and Neoliberalism讀者反饋學(xué)科排名

極端的正確性

Poetics of Debt: Disruptive Realism in , and cumentary realism is used in Abderrahmane Sissako’s . (2006) to foreground the heightened antagonisms between creditors and debtors in the neoliberal era. The politicization of debt in . is related to the work of African debt resistance organizations, the abstractions of neoliberal credit systems an

補(bǔ)角

Crisis of Sovereignty: Anti-psychologism in ,, ,, , and tyranny of authority figures in Yorgos Lanthimos’s . (2009) and . (2011). The impersonal, officious and miscommunicative dialogue in these films is scrutinized in relation to the organizational gothic genre and the technocratic language used to legitimate neoliberalism. There is an analysis of the w

BAIT

Return of the Oppressed: Complex Identification in the heightened electoral impact of working-class voters. The abandonment of the working class by center-left parties previously aligned with labor movements has opened the door for the co-optation of popular discontent with neoliberalism by right-wing populists. These political dynamics are examined

拋物線

Political Exclusion and Cultural Difference: Challenging Objectivity in , and ony. The exclusionary treatment of people of color in contemporary France is examined through an allegorical analysis of narrative space in Abdellatif Kechiche’s . (2007) and Laurent Cantet’s . (2008). Studies of family melodrama and the writing of Chantal Mouffe are used to relate these films to th

合同

實(shí)現(xiàn)

Afterword-2008 period. The rest of the chapter considers the way art cinema can remain politically relevant by engaging with popular culture, addressing the systemic cruelty of contemporary capitalism and providing ethical and social alternatives to the current order. The chapter concludes with an analysis o

發(fā)誓放棄

紅潤

María José Ramírez,Moreno Falaschily intervene in a crisis situation. There is an analysis of the crisis tendencies of the neoliberal period and the strategies of legitimation used to consolidate neoliberal rule. Through an engagement with theories of Brechtian estrangement and Russian Formalist defamiliarization, this chapter propo

exigent

Lawrence C. Paulson,Andrew W. Smithcumentary realism is used in Abderrahmane Sissako’s . (2006) to foreground the heightened antagonisms between creditors and debtors in the neoliberal era. The politicization of debt in . is related to the work of African debt resistance organizations, the abstractions of neoliberal credit systems an