標(biāo)題: Titlebook: Bakhtin and the Movies; New Ways of Understa Martin Flanagan Book 2009 Martin Flanagan 2009 cinema.film.Hollywood [打印本頁(yè)] 作者: ARGOT 時(shí)間: 2025-3-21 16:04
書目名稱Bakhtin and the Movies影響因子(影響力)
書目名稱Bakhtin and the Movies影響因子(影響力)學(xué)科排名
書目名稱Bakhtin and the Movies網(wǎng)絡(luò)公開度
書目名稱Bakhtin and the Movies網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Bakhtin and the Movies被引頻次
書目名稱Bakhtin and the Movies被引頻次學(xué)科排名
書目名稱Bakhtin and the Movies年度引用
書目名稱Bakhtin and the Movies年度引用學(xué)科排名
書目名稱Bakhtin and the Movies讀者反饋
書目名稱Bakhtin and the Movies讀者反饋學(xué)科排名
作者: 突襲 時(shí)間: 2025-3-22 00:19 作者: 加入 時(shí)間: 2025-3-22 02:20
Freie Sukzession und Offenlandmanagement,d that across all genres, Hollywood’s defining principles of action, spectacle, tempo, drama and emotion have all developed in the wake of pioneering Westerns like Porter’s . (1903) and . (1905). Perhaps no other genre can be as readily identified as ‘American’ as the Western, despite the notable ef作者: FLOAT 時(shí)間: 2025-3-22 06:16 作者: Defense 時(shí)間: 2025-3-22 10:27
Online-Kommunikation politischer Akteurenovated therein are finding their way into mainstream dramatic cinema through a host of genres (Keane, 2007, pp.60–1). In fact, in terms of contemporary Hollywood output, it is probably more apposite to ask which films and genres do . benefit from the assistance of CGI than to list those that do, so作者: LAVE 時(shí)間: 2025-3-22 14:25
https://doi.org/10.1007/978-3-531-92437-3 representative texts without treating diegetic events as ontologically separate from context and from reception; preserving a sense of the flow that Bakhtin says is channelled through the ‘gates’ of the chronotope. Markers of film style can be thought of as accents of the depth, range and history o作者: Indolent 時(shí)間: 2025-3-22 18:52 作者: SLING 時(shí)間: 2025-3-23 01:00 作者: 狂熱語(yǔ)言 時(shí)間: 2025-3-23 03:39 作者: Intrepid 時(shí)間: 2025-3-23 08:19 作者: 沒(méi)有準(zhǔn)備 時(shí)間: 2025-3-23 12:06 作者: 睨視 時(shí)間: 2025-3-23 17:29 作者: FUSC 時(shí)間: 2025-3-23 21:16 作者: 匯總 時(shí)間: 2025-3-24 01:54 作者: 脆弱帶來(lái) 時(shí)間: 2025-3-24 04:30
,Chronotope I: Time, Space, Narrative — ‘Get Ready for Rush Hour’,aid to have caused cinematically naive spectators to run from the auditorium, believing that the titular train would crash through the screen. This fabled reaction perhaps marks out the Lumières as the Wachowski or Scott brothers of their era, progenitors of the cinema of spectacle that those modern作者: 一加就噴出 時(shí)間: 2025-3-24 09:37 作者: 惰性女人 時(shí)間: 2025-3-24 11:50
Polyphony: Authorship and Power,me that suggests the possibility of a productive encounter with the Bakhtinian category of polyphony. Mamet pitches a female protagonist into a masculine realm of discourse that is closed-off, impenetrable to the outsider. This drama of communication is played out, however, within a broader context 作者: 強(qiáng)化 時(shí)間: 2025-3-24 16:16 作者: 耕種 時(shí)間: 2025-3-24 19:05
Conclusion: Making it Real, of discursive relations that I have identified as ‘dialogic’. Bakhtin suggests that the project of dialogism encompasses all expressions of socio-ideological life and is without limit in space and time; it takes heed of our contributions to meaning, but will ultimately carry on without us (MHS, p.1作者: Outshine 時(shí)間: 2025-3-25 01:30 作者: milligram 時(shí)間: 2025-3-25 04:49
Introduction,oviding detailed analytical case studies of key films, I hope to afford stimulating evidence that the Bakhtinian approach can provide new points of access into some of the key questions of cinema study.作者: 蜈蚣 時(shí)間: 2025-3-25 10:33
https://doi.org/10.1007/978-3-658-22563-6y suggestive for helping to understand the processes and meanings of cinema, have yet to be fully articulated in relation to the key debates of film studies. It will be demonstrated that a richer engagement with the Bakhtinian matrix of ideas (incorporating the works of others in what has become kno作者: orthodox 時(shí)間: 2025-3-25 15:35
Handbuch Offene Kinder- und Jugendarbeittion by which an ever-changing multiplicity of social languages and speech types are artistically organized in the text) find their fullest expression in the novel, and can only be incompletely represented in ‘monologic’ forms such as poetry, epic and drama.. For Bakhtin, the novel is equipped to de作者: 減去 時(shí)間: 2025-3-25 17:33
Handbuch Offene Kinder- und Jugendarbeitaid to have caused cinematically naive spectators to run from the auditorium, believing that the titular train would crash through the screen. This fabled reaction perhaps marks out the Lumières as the Wachowski or Scott brothers of their era, progenitors of the cinema of spectacle that those modern作者: 有限 時(shí)間: 2025-3-25 20:07
Freie Sukzession und Offenlandmanagement,ominent among these being the premise of the outsider hero who must battle his way through the ranks of the enemy until he faces a stand-off with the villain, whom he resembles in many ways and with whom he has formed a special bond of respect. The film constructs an amusing discourse foregrounding 作者: etiquette 時(shí)間: 2025-3-26 03:18 作者: cognizant 時(shí)間: 2025-3-26 05:05
Online-Kommunikation politischer Akteurenevitably come up for re-evaluation. The notion of the ‘pro-filmic event’. as a way of understanding the materiality of the staged and arranged objects (sets, props and actors) in front of the camera as guaranteed by their straightforward reproduction on celluloid, becomes problematic in the age of 作者: 粗鄙的人 時(shí)間: 2025-3-26 11:03
https://doi.org/10.1007/978-3-531-92437-3 of discursive relations that I have identified as ‘dialogic’. Bakhtin suggests that the project of dialogism encompasses all expressions of socio-ideological life and is without limit in space and time; it takes heed of our contributions to meaning, but will ultimately carry on without us (MHS, p.1作者: Esophagitis 時(shí)間: 2025-3-26 16:15
Overview: Martin Flanagan uses Bakhtin‘s notions of dialogism, chronotope and polyphony to address fundamental questions about film form and reception, focussing particularly on the way cinematic narrative utilises time and space in its very construction.978-1-349-30093-8978-0-230-25204-2作者: APO 時(shí)間: 2025-3-26 20:27 作者: 友好關(guān)系 時(shí)間: 2025-3-26 23:41
Book 2009Martin Flanagan uses Bakhtin‘s notions of dialogism, chronotope and polyphony to address fundamental questions about film form and reception, focussing particularly on the way cinematic narrative utilises time and space in its very construction.作者: infantile 時(shí)間: 2025-3-27 02:10 作者: Addictive 時(shí)間: 2025-3-27 06:02 作者: 顛簸地移動(dòng) 時(shí)間: 2025-3-27 09:45
Vadim N. Gladyshev,Yan Zhangion,” based on the fact that its population came almost exclusively from Europe and the presence of a European-based culture. Despite this, some African-related traditions are still very visible in Uruguay, especially during carnival, while Native American ones are mainly related to common use of Gu作者: Metamorphosis 時(shí)間: 2025-3-27 14:06
D. A. Burgessnformation that can occur in the ubiquitous environment. Therefore, a more personalized recommendation, which is reflected by various user preferences, is possible. A prototype was implemented in order to evaluate the proposed system, then, through results, the existing recommendation method is comp作者: Facilities 時(shí)間: 2025-3-27 19:42
The Palestinian Perception of America after 9/11,it seems to me that our purpose is determined by . we are interested in Palestinian perceptions, in other words, what is at stake as far as these perceptions are concerned. Since perceptions of the “other” are linked to perceptions of oneself (in many ways being a kind of self-affirmation), I think 作者: 認(rèn)為 時(shí)間: 2025-3-27 23:40 作者: Intuitive 時(shí)間: 2025-3-28 03:45 作者: Sinus-Rhythm 時(shí)間: 2025-3-28 08:11
