Titlebook: Chinese Film Festivals; Sites of Translation Chris Berry,Luke Robinson Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 arts.

Nonchalant

書目名稱Chinese Film Festivals影響因子(影響力)




書目名稱Chinese Film Festivals影響因子(影響力)學(xué)科排名




書目名稱Chinese Film Festivals網(wǎng)絡(luò)公開(kāi)度




書目名稱Chinese Film Festivals網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




書目名稱Chinese Film Festivals被引頻次




書目名稱Chinese Film Festivals被引頻次學(xué)科排名




書目名稱Chinese Film Festivals年度引用




書目名稱Chinese Film Festivals年度引用學(xué)科排名




書目名稱Chinese Film Festivals讀者反饋




書目名稱Chinese Film Festivals讀者反饋學(xué)科排名

豎琴

NIP

https://doi.org/10.1057/978-1-137-55016-3arts; Asia; Asian cinema; Asian culture; China; cinema; culture; directing; film; film and television; film hi

間諜活動(dòng)

蚊子

Chinese Film Festivals978-1-137-55016-3Series ISSN 2946-3734 Series E-ISSN 2946-3742

Anecdote

Anecdote

https://doi.org/10.1057/9781137434838 and Shanghai International Film Festivals as case studies. They are starkly different. Hong Kong International Film Festival (HKIFF) started as a local government service aimed at local audiences and has since become an independent organization, only recently launching awards. Shanghai Internationa

輕推

Temporal-Lobe

https://doi.org/10.1007/978-3-031-02266-1film festival culture been translated in Taiwan? Second, how might film festivals function as a cultural broker to enhance the quality of film education and the growth of the local film industry while projecting Taiwan’s cultural values and soft power abroad? This chapter will add to the existing li

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