標(biāo)題: Titlebook: Celluloid Sisters; Women And Popular Ci Janet Thumim,Jo Campling Book 1992 Palgrave Macmillan, a division of Macmillan Publishers Limited 1 [打印本頁] 作者: Abeyance 時(shí)間: 2025-3-21 18:06
書目名稱Celluloid Sisters影響因子(影響力)
書目名稱Celluloid Sisters影響因子(影響力)學(xué)科排名
書目名稱Celluloid Sisters網(wǎng)絡(luò)公開度
書目名稱Celluloid Sisters網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Celluloid Sisters被引頻次
書目名稱Celluloid Sisters被引頻次學(xué)科排名
書目名稱Celluloid Sisters年度引用
書目名稱Celluloid Sisters年度引用學(xué)科排名
書目名稱Celluloid Sisters讀者反饋
書目名稱Celluloid Sisters讀者反饋學(xué)科排名
作者: dysphagia 時(shí)間: 2025-3-21 22:20 作者: 點(diǎn)燃 時(shí)間: 2025-3-22 03:31
The Construction and Definition of Female Characters,eal, exemplified in the films and the audiences respectively, evident in the themes which appear concurrently in different films. This proposition is endorsed by the marked differences evident in themes current at each of the three “moments”.作者: MUMP 時(shí)間: 2025-3-22 06:58
The Narrative Resolutions of Female Characters,nema — the world inhabited by the audience — constitutes the routine material of critical responses to the films. Close attention to such contemporary responses, as we shall see, offers an extra-diegetic yardstick by which we may evaluate contemporary reception of the discursive propositions lodged in the resolutions of the film texts.作者: 冷淡周邊 時(shí)間: 2025-3-22 10:25 作者: explicit 時(shí)間: 2025-3-22 13:10
r the analysis of fictional characters is presented and the discursive context within which contemporary meanings were formed is explored through reference to the press, particularly that addressed to a female readership.978-1-349-21961-2作者: explicit 時(shí)間: 2025-3-22 17:44
On the Origin of Phosphorylated Biomoleculesnema — the world inhabited by the audience — constitutes the routine material of critical responses to the films. Close attention to such contemporary responses, as we shall see, offers an extra-diegetic yardstick by which we may evaluate contemporary reception of the discursive propositions lodged in the resolutions of the film texts.作者: Anthropoid 時(shí)間: 2025-3-22 22:26
ly activity of female audience members in respect of a group of eighteen films successful at the British box office between 1945 and 1965. A method for the analysis of fictional characters is presented and the discursive context within which contemporary meanings were formed is explored through refe作者: 意外 時(shí)間: 2025-3-23 03:35
On the Origin of Phosphorylated Biomoleculeschapter is concerned with the qualifications which must be borne in mind while engaging in such an exploration of cinema popular in Britain between 1945–1965. The book as a whole is, precisely, a speculation about the available meanings of Woman in circulation at a time when cinema could be said to be the dominant form of mass culture.作者: Substance 時(shí)間: 2025-3-23 06:12
Daniel Fitz,Thomas Jakschitz,Bernd M. Rode typical of the majority of films popular in the mid-forties, mid-fifties and mid-sixties, and to the two aspects of the cinema which particularly inflected marketing strategies, audience choices and, most important, audience readings of film — which are genre and stars.作者: BLAZE 時(shí)間: 2025-3-23 12:19
https://doi.org/10.1007/978-3-642-21625-1nsideration of the wider social field in which popular cinema, amongst other cultural forms, is situated, whereas if our attention is directed to the “the reader(s)” of the (film) text we may expect discussion to focus on the detailed workings of the text in respect of its apparent address to the individual reader.作者: Conjuction 時(shí)間: 2025-3-23 13:59
,Popular Cinema in Britain, 1945–1965,chapter is concerned with the qualifications which must be borne in mind while engaging in such an exploration of cinema popular in Britain between 1945–1965. The book as a whole is, precisely, a speculation about the available meanings of Woman in circulation at a time when cinema could be said to be the dominant form of mass culture.作者: Entreaty 時(shí)間: 2025-3-23 20:39
The Films: Narrative Themes, typical of the majority of films popular in the mid-forties, mid-fifties and mid-sixties, and to the two aspects of the cinema which particularly inflected marketing strategies, audience choices and, most important, audience readings of film — which are genre and stars.作者: LIEN 時(shí)間: 2025-3-23 22:42
The Film Audience and the Female Reader,nsideration of the wider social field in which popular cinema, amongst other cultural forms, is situated, whereas if our attention is directed to the “the reader(s)” of the (film) text we may expect discussion to focus on the detailed workings of the text in respect of its apparent address to the individual reader.作者: 藐視 時(shí)間: 2025-3-24 05:12
Optimisation of Production Under Uncertaintynd concern is with the usefulness of the various theoretical models outlined in the previous two sections on reading and the audience, in illuminating the ways in which any particular representation might be understood by its female audiences. Thus the first concern is straightforward, though noneth作者: 上下倒置 時(shí)間: 2025-3-24 10:12
Female Readers and the Film Text,nd concern is with the usefulness of the various theoretical models outlined in the previous two sections on reading and the audience, in illuminating the ways in which any particular representation might be understood by its female audiences. Thus the first concern is straightforward, though noneth作者: 龍卷風(fēng) 時(shí)間: 2025-3-24 11:25
,Introduction: What Does ‘Popular Cinema’ Mean to Women?,ise all sorts of further questions. These concern the idea of “the popular” itself as well as questions about what “dominant” might mean in a plural, democratically organised society with a market-based economy. For feminists it also implies recognition of the continuing struggles of gender politics作者: 縮影 時(shí)間: 2025-3-24 14:57 作者: venous-leak 時(shí)間: 2025-3-24 20:13 作者: 嗎啡 時(shí)間: 2025-3-25 00:07 作者: 土產(chǎn) 時(shí)間: 2025-3-25 06:48 作者: Gourmet 時(shí)間: 2025-3-25 10:45
The Narrative Resolutions of Female Characters,ugh the systematic process of offering and withholding information, posing and answering questions, which constitutes the “unfolding” of the narrative, have been resolved. The apparent validity of such answers and the degree of veracity perceived in films” representations of the world outside the ci作者: 議程 時(shí)間: 2025-3-25 15:37 作者: FOIL 時(shí)間: 2025-3-25 18:29
Female Readers and the Film Text,orming expectations or images of themselves, it is of particular interest in a consideration of the special activities of female audience members to consider filmic representations of experiences which are specific to women. In perusing, as it were, such representations in all the films we have been作者: 扔掉掐死你 時(shí)間: 2025-3-25 22:02
http://image.papertrans.cn/c/image/223110.jpg作者: 生命層 時(shí)間: 2025-3-26 02:26
Daniel Fitz,Thomas Jakschitz,Bernd M. Rodeise all sorts of further questions. These concern the idea of “the popular” itself as well as questions about what “dominant” might mean in a plural, democratically organised society with a market-based economy. For feminists it also implies recognition of the continuing struggles of gender politics.作者: LAVA 時(shí)間: 2025-3-26 07:44
Matthew A. Pasek,Terence P. Keeise all sorts of further questions. These concern the idea of “the popular” itself as well as questions about what “dominant” might mean in a plural, democratically organised society with a market-based economy. For feminists it also implies recognition of the continuing struggles of gender politics.作者: 畢業(yè)典禮 時(shí)間: 2025-3-26 11:33 作者: GROUP 時(shí)間: 2025-3-26 16:10
Daniel Fitz,Thomas Jakschitz,Bernd M. Rodeise all sorts of further questions. These concern the idea of “the popular” itself as well as questions about what “dominant” might mean in a plural, democratically organised society with a market-based economy. For feminists it also implies recognition of the continuing struggles of gender politics作者: AWE 時(shí)間: 2025-3-26 16:55
Matthew A. Pasek,Terence P. Keeise all sorts of further questions. These concern the idea of “the popular” itself as well as questions about what “dominant” might mean in a plural, democratically organised society with a market-based economy. For feminists it also implies recognition of the continuing struggles of gender politics作者: 護(hù)身符 時(shí)間: 2025-3-27 00:43 作者: considerable 時(shí)間: 2025-3-27 01:09 作者: 葡萄糖 時(shí)間: 2025-3-27 08:42 作者: 幼稚 時(shí)間: 2025-3-27 12:14
On the Origin of Phosphorylated Biomoleculesugh the systematic process of offering and withholding information, posing and answering questions, which constitutes the “unfolding” of the narrative, have been resolved. The apparent validity of such answers and the degree of veracity perceived in films” representations of the world outside the ci作者: Bph773 時(shí)間: 2025-3-27 15:53 作者: detach 時(shí)間: 2025-3-27 20:57 作者: 贊美者 時(shí)間: 2025-3-28 01:05
,Introduction: What Does ‘Popular Cinema’ Mean to Women?,ise all sorts of further questions. These concern the idea of “the popular” itself as well as questions about what “dominant” might mean in a plural, democratically organised society with a market-based economy. For feminists it also implies recognition of the continuing struggles of gender politics.作者: 恫嚇 時(shí)間: 2025-3-28 05:44
Popular Forms and Popularity,ise all sorts of further questions. These concern the idea of “the popular” itself as well as questions about what “dominant” might mean in a plural, democratically organised society with a market-based economy. For feminists it also implies recognition of the continuing struggles of gender politics.作者: 能得到 時(shí)間: 2025-3-28 09:23
9樓作者: lymphedema 時(shí)間: 2025-3-28 11:23
9樓作者: Matrimony 時(shí)間: 2025-3-28 18:18
10樓作者: 不如屎殼郎 時(shí)間: 2025-3-28 22:25
10樓作者: Diskectomy 時(shí)間: 2025-3-29 02:13
10樓作者: 饒舌的人 時(shí)間: 2025-3-29 04:51
10樓
