作者: Minatory 時(shí)間: 2025-3-21 21:08 作者: 新娘 時(shí)間: 2025-3-22 01:13
verthe last century. The contributors re-examine the concept and definition of Australian cinema in regard to a range of local, international and global practices and trends that blur neat categorisations of na978-3-319-88298-7978-3-319-66676-1作者: Omnipotent 時(shí)間: 2025-3-22 06:06 作者: 土產(chǎn) 時(shí)間: 2025-3-22 09:54 作者: 爵士樂(lè) 時(shí)間: 2025-3-22 13:20 作者: 議程 時(shí)間: 2025-3-22 19:49
Die Ermittlung der inneren Spannungen,ue suggests an alternate narrative that begins with the 1981 reconstruction of the film. The reconstruction ruptures the spatial and temporal unity of the film by incorporating into the diegesis archival material that spans temporally and spatially diverse domains of cultural production. Through an 作者: 朝圣者 時(shí)間: 2025-3-22 22:42
Die Ermittlung der inneren Spannungen,orical context for what would become a vibrant and diverse Indigenous cinema, I discuss how Indigenous peoples have been represented by non-Indigenous filmmakers, in particular in the Bushranger film genre, a hybridised Australian version of the Hollywood western. I explore the confluences and cultu作者: acrobat 時(shí)間: 2025-3-23 01:29
Die Grundz?ge des Eisenbetonbauesly and physically challenging parts rather than glamorous roles, Collette has crafted an anti-star persona by playing women living with mental illness or psychological trauma, or mothers caring for family members with mental health issues. Chapter 4 discusses key films that helped establish Collette作者: 固執(zhí)點(diǎn)好 時(shí)間: 2025-3-23 06:57
Die Grundzüge des Eisenbetonbauestakings. . reviewer Tom Buckley noted with some irritation that its dialogue had been dubbed and was often out of sync. Declaring the film “ugly and incoherent,” Buckley states: “much of the rudimentary dialogue in this Australian film has been dubbed from ‘strine,’ the thick dialect of the subconti作者: Commentary 時(shí)間: 2025-3-23 12:17 作者: Palpitation 時(shí)間: 2025-3-23 14:42
Strafrechtliche Aspekte des Steuerbetrugs,ll domestic marketplace where Australian horror films have long struggled to resonate with domestic audiences, some filmmakers have attempted to pass their films off as American in an attempt to target international audiences. Other filmmakers have sought to trade upon ‘Australianness’ to differenti作者: puzzle 時(shí)間: 2025-3-23 18:36 作者: 暗指 時(shí)間: 2025-3-24 01:00 作者: Mosaic 時(shí)間: 2025-3-24 06:04 作者: 靦腆 時(shí)間: 2025-3-24 09:55 作者: Hirsutism 時(shí)間: 2025-3-24 11:32
Behandlungstechnik in der Gruppenanalyseoffice. Yet, Hogan’s version of J.M. Barrie’s most famous narratives merits discussion as a work that positions colonialism’s lingering influence in dialogue with the nation’s anxieties over globalized forces such as Hollywood. Chapter . argues that, by reframing Barrie’s Neverland within the contex作者: 颶風(fēng) 時(shí)間: 2025-3-24 16:51 作者: Inflamed 時(shí)間: 2025-3-24 20:24 作者: CHIP 時(shí)間: 2025-3-25 00:04 作者: 釘牢 時(shí)間: 2025-3-25 04:17 作者: 種類 時(shí)間: 2025-3-25 11:20 作者: 懦夫 時(shí)間: 2025-3-25 12:26
,Where I’m Calling From: An American–Australian Cinema?,panded and become more complex, Australian cinema has remained an important exhibition and production network for the United States for over a hundred years. In the Introduction, we trace some of the material and expansive histories of this relationship by exploring the dynamic and shifting interact作者: 慢慢沖刷 時(shí)間: 2025-3-25 18:13
Rudimentary Modernism: Ken G. Hall, Rear-Projection and 1930s Hollywoodsystem, which he quickly put to rudimentary use on his 1936 feature,?.. Primitive and modern, Hall’s often-maligned contribution to Australian film history needs to be re-examined. This chapter explores the ways this technology was utilized to modernize both production methods and transform the audi作者: FLAGR 時(shí)間: 2025-3-25 21:35
Simulated Scenery: Travel Cinema, Special Effects and ,ue suggests an alternate narrative that begins with the 1981 reconstruction of the film. The reconstruction ruptures the spatial and temporal unity of the film by incorporating into the diegesis archival material that spans temporally and spatially diverse domains of cultural production. Through an 作者: 消毒 時(shí)間: 2025-3-26 01:48
Representations and Hybridizations in First Nation Cinema: Change and Newness by Fusionorical context for what would become a vibrant and diverse Indigenous cinema, I discuss how Indigenous peoples have been represented by non-Indigenous filmmakers, in particular in the Bushranger film genre, a hybridised Australian version of the Hollywood western. I explore the confluences and cultu作者: deficiency 時(shí)間: 2025-3-26 07:27 作者: 混沌 時(shí)間: 2025-3-26 11:32 作者: 攀登 時(shí)間: 2025-3-26 14:51 作者: 惰性氣體 時(shí)間: 2025-3-26 17:51
Australian Horror Movies and the American Marketll domestic marketplace where Australian horror films have long struggled to resonate with domestic audiences, some filmmakers have attempted to pass their films off as American in an attempt to target international audiences. Other filmmakers have sought to trade upon ‘Australianness’ to differenti作者: 和平 時(shí)間: 2025-3-26 23:16
The Terrible Terrace: Australian Gothic Reimagined and the (Inner) Suburban Horror of ,ts typically feminised suburban domestic space as the basis of an alternative Australian gothic, distinct from those films that equate Australianness with masculinity. Although Kent herself emphasises the deliberate placelessness of her film, this discussion focuses on how its depiction of a haunted作者: vasculitis 時(shí)間: 2025-3-27 03:54 作者: FLAT 時(shí)間: 2025-3-27 06:13 作者: PANG 時(shí)間: 2025-3-27 11:52 作者: Allodynia 時(shí)間: 2025-3-27 14:35
Defining Neverland: P. J. Hogan, J. M. Barrie and , in Post-Mabo Australiaoffice. Yet, Hogan’s version of J.M. Barrie’s most famous narratives merits discussion as a work that positions colonialism’s lingering influence in dialogue with the nation’s anxieties over globalized forces such as Hollywood. Chapter . argues that, by reframing Barrie’s Neverland within the contex作者: Dysarthria 時(shí)間: 2025-3-27 18:49 作者: PRO 時(shí)間: 2025-3-27 23:20
ly porous production, distribution, and exhibition associati.This edited collection assesses the complex historical and contemporary relationships between US and Australian cinema by tapping directly into discussions of national cinema, transnationalism and global Hollywood. While most equivalent st作者: gruelling 時(shí)間: 2025-3-28 03:35 作者: Obverse 時(shí)間: 2025-3-28 09:37
Die Ermittlung der inneren Spannungen,d styles with which First Nation films have entered into dialogue with American cinema, my focus is on two very different Aboriginal filmmakers, Tracey Moffatt and Ivan Sen, whose films demonstrate processes of intercultural exchange and fusion with Hollywood cinema.作者: 項(xiàng)目 時(shí)間: 2025-3-28 14:01 作者: JADED 時(shí)間: 2025-3-28 15:04
Reihe Rechtswissenschaft ab Bd. 209xploration of how Tarantino uses the films to fashion a countercanon that both challenges traditional cultural authorities (historians, film reviewers, scholars) and asserts his own critical and artistic authority.作者: Anticonvulsants 時(shí)間: 2025-3-28 21:44
Strafrechtliche Aspekte des Steuerbetrugs,emporary Australian horror movies. It explores structural limitations of the Australian market and analyses textual characteristics of contemporary ‘faux-American’ horror titles and key films that trade upon distinctively Australian identifiers in the market.作者: 推測(cè) 時(shí)間: 2025-3-29 00:30 作者: 不出名 時(shí)間: 2025-3-29 03:35
Behandlungstechnik in der Gruppenanalyse colonial discourse and Australia’s contemporary role in the globalized economy. Cultivating a vibrant, hybrid Neverland, Hogan’s film also demonstrates a concern with Australia’s colonial legacy while negotiating the Hollywood blockbuster’s relationship to Australian national cinema.作者: invulnerable 時(shí)間: 2025-3-29 09:32 作者: 琺瑯 時(shí)間: 2025-3-29 11:41
Representations and Hybridizations in First Nation Cinema: Change and Newness by Fusiond styles with which First Nation films have entered into dialogue with American cinema, my focus is on two very different Aboriginal filmmakers, Tracey Moffatt and Ivan Sen, whose films demonstrate processes of intercultural exchange and fusion with Hollywood cinema.作者: 衣服 時(shí)間: 2025-3-29 18:54 作者: thrombosis 時(shí)間: 2025-3-29 23:01
Talking Trash with Tarantino: Auteurism, Aesthetics and Authority in ,xploration of how Tarantino uses the films to fashion a countercanon that both challenges traditional cultural authorities (historians, film reviewers, scholars) and asserts his own critical and artistic authority.作者: 驚奇 時(shí)間: 2025-3-30 02:42 作者: 濕潤(rùn) 時(shí)間: 2025-3-30 07:05 作者: 敬禮 時(shí)間: 2025-3-30 08:33 作者: 愉快么 時(shí)間: 2025-3-30 15:56 作者: flourish 時(shí)間: 2025-3-30 20:29
American Cartel: Block Bookings and the Paramount Plane silent period of 1909–1927, this chapter discusses a number of significant shifts in film exhibition that transformed Australian cinema from an independent and self-sufficient industry into a local Hollywood.作者: Leisureliness 時(shí)間: 2025-3-30 23:30
The Multiplex Eraut constantly changing relationships between Australian and US exhibition and distribution interests. Finally, the chapter surveys the places the films come from, the similarities and differences between the most successful ones in Australia and the US, and the changing demography of cinema audiences.作者: 饒舌的人 時(shí)間: 2025-3-31 01:32 作者: 蝕刻術(shù) 時(shí)間: 2025-3-31 08:46
Book 2018ssions of national cinema, transnationalism and global Hollywood. While most equivalent studies aim to define national cinema as independent from or in competition with Hollywood, this collection explores a more porous set of relationships through the varied production, distribution and exhibition a
