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Titlebook: Ecuadorian Cinema for the 21st Century; María Fernanda Mi?o Puga Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusiv

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樓主: protocol
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發(fā)表于 2025-3-25 06:58:24 | 只看該作者
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發(fā)表于 2025-3-25 09:52:45 | 只看該作者
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發(fā)表于 2025-3-25 12:02:22 | 只看該作者
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發(fā)表于 2025-3-25 17:06:27 | 只看該作者
Periodensystem der Elemente (PSE)pter chooses to focus on privately funded narrative features that reached commercial theatres during the . years, proposing an Ecuadorian vernacular terminology to encapsulate these films. Here, it is argued that a shared aspiration for theatrical distribution and “dreaming big”, what Ponce-Cordero
25#
發(fā)表于 2025-3-25 22:46:52 | 只看該作者
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發(fā)表于 2025-3-26 00:56:36 | 只看該作者
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發(fā)表于 2025-3-26 04:56:29 | 只看該作者
Correction to: Ecuadorian Cinema for the 21st Century,
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發(fā)表于 2025-3-26 09:01:19 | 只看該作者
29#
發(fā)表于 2025-3-26 12:56:15 | 只看該作者
The Case for an Ecuadorian Cinema for the 21st Century,ng a legacy of border-crossing collaborations dating back to the early silent film era. Ecuadorian cinema is also classed as a film industry, even when not necessarily representing a mass-scale production or long-standing scholarly tradition. The fact that local filmmakers have managed to maintain a
30#
發(fā)表于 2025-3-26 20:36:23 | 只看該作者
Commercially Released Narrative Features During the , Years,ate in contestation with hegemonic powers; at times in functions in line with such structures, commenting on poverty and underdevelopment whilst, simultaneously, aspiring to international prestige and commercial success. This argument is further substantiated by three key precursors that attest to s
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