標(biāo)題: Titlebook: Cinemas Dark and Slow in Digital India; Lalitha Gopalan Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 Indian Film.Bombay. [打印本頁] 作者: 連結(jié) 時間: 2025-3-21 17:16
書目名稱Cinemas Dark and Slow in Digital India影響因子(影響力)
書目名稱Cinemas Dark and Slow in Digital India影響因子(影響力)學(xué)科排名
書目名稱Cinemas Dark and Slow in Digital India網(wǎng)絡(luò)公開度
書目名稱Cinemas Dark and Slow in Digital India網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Cinemas Dark and Slow in Digital India被引頻次
書目名稱Cinemas Dark and Slow in Digital India被引頻次學(xué)科排名
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書目名稱Cinemas Dark and Slow in Digital India年度引用學(xué)科排名
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書目名稱Cinemas Dark and Slow in Digital India讀者反饋學(xué)科排名
作者: acrophobia 時間: 2025-3-21 22:17 作者: 向外 時間: 2025-3-22 03:41
https://doi.org/10.1007/978-981-97-5846-3t his post-production studio Paperboat in January 2018. Following up on email introductions and requests, Haksar sent me a link to the film—I was floored by what I was watching, a work like no other I had seen before, unclassifiable.作者: 首創(chuàng)精神 時間: 2025-3-22 07:05 作者: POWER 時間: 2025-3-22 09:18
Olivier Meunier,Michel Mignoletkadi Loist, whose essays and book series offer methods and theorizations indispensable to this field. Both the poetics and politics of film festivals are their mainstay—when attuned to the workings of film festivals, from curating to awards—and the search for undiscovered auteurs and extraordinary f作者: burnish 時間: 2025-3-22 15:28
https://doi.org/10.1057/9780230247017r cinema is alive and well, as evidenced in the recognizable scholarship on the specific form and structuring of various genres. Regardless, noir receives passing mention. By contrast, stateside, the growing number of compendia on film noir, the lists of films added, subtracted, and discovered, defy作者: burnish 時間: 2025-3-22 17:49
https://doi.org/10.1057/9780230247017e Abhirami Theater, Chennai, in the summer of 2008. My appreciation of Tamil films took on a further burnish through a special?programming venture?in collaboration?with the 3rd i South Asia Film Festival that was?inaugurated at the Pacific Film Archive (PFA) in 2011. The series, which I co-curated w作者: Misnomer 時間: 2025-3-22 23:59
https://doi.org/10.1057/9780230247017elf increasingly landlocked and trapped, and the war on fossil fuels fortifies my distaste for cars with a certain righteousness. That roadways as a signal measure of modernity has had its own deleterious effect on communities across the globe is well?recorded. Yet road movies have me transfixed, an作者: 被詛咒的人 時間: 2025-3-23 01:48
https://doi.org/10.1007/978-3-319-30560-8rs with their ear attuned to both film festivals and non-official screenings of his work. I find no singular, satisfactory, classificatory category befitting his films, save a consistently enthralling choice of titles, such as . (1989), . (2006), and . (2012); these three surviving films are held up作者: outrage 時間: 2025-3-23 05:55 作者: Unsaturated-Fat 時間: 2025-3-23 12:14 作者: abreast 時間: 2025-3-23 15:38
Slowing Downkadi Loist, whose essays and book series offer methods and theorizations indispensable to this field. Both the poetics and politics of film festivals are their mainstay—when attuned to the workings of film festivals, from curating to awards—and the search for undiscovered auteurs and extraordinary films drives their reconnaissance energies.作者: Popcorn 時間: 2025-3-23 18:22 作者: evince 時間: 2025-3-23 23:03
http://image.papertrans.cn/c/image/226546.jpg作者: ticlopidine 時間: 2025-3-24 02:39 作者: pulmonary-edema 時間: 2025-3-24 10:24 作者: Magnificent 時間: 2025-3-24 11:50 作者: GLOSS 時間: 2025-3-24 15:51 作者: Abrupt 時間: 2025-3-24 20:04
Bombay Noir any settled definition of a canon rather, revisionism plagues film noir more than any other genre, most prominently gestured through nomenclature: historical noir, neo-noir, tech-noir, French noir, Nikkatsu Noir, Hong Kong Neo-Noir, Kowloon Noir, East Asian Noir, to name a few.作者: Chemotherapy 時間: 2025-3-25 01:12 作者: Fortify 時間: 2025-3-25 06:55
Daniel Felsenstein,Boris A. Portnov equally long histories of theatrical releases, yet whose films are rarely stored in archives. What a film archive deems worthy of cataloguing and preserving provokes ongoing discussions on its very ontology, which are further animated when considering deteriorating celluloid works.作者: 機械 時間: 2025-3-25 09:43
https://doi.org/10.1057/9780230247017 any settled definition of a canon rather, revisionism plagues film noir more than any other genre, most prominently gestured through nomenclature: historical noir, neo-noir, tech-noir, French noir, Nikkatsu Noir, Hong Kong Neo-Noir, Kowloon Noir, East Asian Noir, to name a few.作者: GEON 時間: 2025-3-25 14:28 作者: Hearten 時間: 2025-3-25 18:11 作者: Legend 時間: 2025-3-25 22:53
has been a steady reminder of different film styles afoot a.This book provides a sustained engagement with contemporary Indian feature films from outside the mainstream, including .Aaranaya Kaandam.,. I.D.., .Kaul., .Chauthi Koot., .Cosmic Sex., and .Gaali Beeja., to undercut the dominance of Bolly作者: Tonometry 時間: 2025-3-26 00:26 作者: CLEAR 時間: 2025-3-26 04:26 作者: 名字的誤用 時間: 2025-3-26 11:57
https://doi.org/10.1007/978-3-319-30560-8fitting his films, save a consistently enthralling choice of titles, such as . (1989), . (2006), and . (2012); these three surviving films are held up close in this chapter, and invite us to shake off and adjust the frameworks we use for studying art cinemas.作者: 許可 時間: 2025-3-26 14:02 作者: coddle 時間: 2025-3-26 18:44 作者: 護航艦 時間: 2025-3-27 00:13 作者: Axon895 時間: 2025-3-27 04:39 作者: agitate 時間: 2025-3-27 05:31 作者: agitate 時間: 2025-3-27 11:40
Minding the Gape phrase at cinema studies conferences, when questions of research at archives arise, to remind my colleagues of economic disparities between cinemas. Film archives have long been the privilege of First World nations, their upkeep and protocols the envy of many of us working on cinemas that have had作者: 共同時代 時間: 2025-3-27 16:29
Slowing Downkadi Loist, whose essays and book series offer methods and theorizations indispensable to this field. Both the poetics and politics of film festivals are their mainstay—when attuned to the workings of film festivals, from curating to awards—and the search for undiscovered auteurs and extraordinary f作者: 遵循的規(guī)范 時間: 2025-3-27 18:56
Bombay Noirr cinema is alive and well, as evidenced in the recognizable scholarship on the specific form and structuring of various genres. Regardless, noir receives passing mention. By contrast, stateside, the growing number of compendia on film noir, the lists of films added, subtracted, and discovered, defy作者: Astigmatism 時間: 2025-3-28 01:58
Tamil New Wavee Abhirami Theater, Chennai, in the summer of 2008. My appreciation of Tamil films took on a further burnish through a special?programming venture?in collaboration?with the 3rd i South Asia Film Festival that was?inaugurated at the Pacific Film Archive (PFA) in 2011. The series, which I co-curated w作者: Barter 時間: 2025-3-28 04:41 作者: 2否定 時間: 2025-3-28 09:32
Untitled: Amitabh Chakraborty’s Cinemars with their ear attuned to both film festivals and non-official screenings of his work. I find no singular, satisfactory, classificatory category befitting his films, save a consistently enthralling choice of titles, such as . (1989), . (2006), and . (2012); these three surviving films are held up作者: Adenoma 時間: 2025-3-28 11:42
