標(biāo)題: Titlebook: Cinematic Geographies and Multicultural Spectatorship in America; Amy Lynn Corbin Book 20151st edition Amy Lynn Corbin 2015 cinema.geograp [打印本頁] 作者: Flexibility 時(shí)間: 2025-3-21 16:35
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作者: Spongy-Bone 時(shí)間: 2025-3-21 21:44 作者: grenade 時(shí)間: 2025-3-22 03:10
Primitive Cousins: Roots and Authenticity in the White South,he local sheriff sums up the cultural-geographic divide when he tells them: “The rest of America don’t mean jackshit—you’re in Mississippi now.” Such comments are aimed as much at the audience as to the outsider characters, for the Mississippi of this film is not a place many 1980s viewers would wan作者: Metamorphosis 時(shí)間: 2025-3-22 05:17
The Urban Frontier: From Inner City Tourist to Resident,of the “urban frontier,” and at the beginning of a call by inner city residents to control their on-screen image. Its police characters see themselves in a desperate last stand against urban violence and chaos: after an initial incident in which two officers are found killed in their car, another sa作者: 努力趕上 時(shí)間: 2025-3-22 11:19
,“Home” Turns Otherworldly in the Suburbs,suburbs are typically critiques of the landscape, driven by cynicism and a sense of superiority. However, many other, usually more popular, films are set in the suburbs; these are typically cheery family comedies and uplifting coming-of-age stories. These films do not explicitly take the suburbs as 作者: Feedback 時(shí)間: 2025-3-22 15:33 作者: Feedback 時(shí)間: 2025-3-22 19:55
erica evoke a sense of travel for their viewers. These virtual travel experiences from the mid-1970s through the 1990s built a societal map of "popular multiculturalism" through a movie-going experience.978-1-137-47971-6作者: vitreous-humor 時(shí)間: 2025-3-23 00:29 作者: 閑蕩 時(shí)間: 2025-3-23 01:55 作者: 顯示 時(shí)間: 2025-3-23 06:01 作者: BACLE 時(shí)間: 2025-3-23 11:32
https://doi.org/10.1007/978-4-431-55897-2rcastically asks, “What is this, Gunfight at the OK Corral?” By establishing this dichotomy of savage urban residents and cowboy-cops, the film offers a textbook outsider position for its spectator. And yet, contradicting this imperialist position, the film is prefaced with a title card that reads:作者: 上下連貫 時(shí)間: 2025-3-23 15:08 作者: 補(bǔ)助 時(shí)間: 2025-3-23 18:20
M. Ray Perryman,Nancy S. Perrymaners, and so discourse about this cultural landscape structures America’s initial familiar/foreign dichotomy. In this sense, this first chapter is a sort of “prequel” to the rest of the book and its interest in the post-sixties era’s multicultural travel. The prominent cycle of Westerns that focus on作者: confide 時(shí)間: 2025-3-24 02:08
Alberta H. Charney,Carol A. Taylorhe local sheriff sums up the cultural-geographic divide when he tells them: “The rest of America don’t mean jackshit—you’re in Mississippi now.” Such comments are aimed as much at the audience as to the outsider characters, for the Mississippi of this film is not a place many 1980s viewers would wan作者: ARCHE 時(shí)間: 2025-3-24 02:50 作者: Celiac-Plexus 時(shí)間: 2025-3-24 06:39
https://doi.org/10.1007/978-4-431-55897-2suburbs are typically critiques of the landscape, driven by cynicism and a sense of superiority. However, many other, usually more popular, films are set in the suburbs; these are typically cheery family comedies and uplifting coming-of-age stories. These films do not explicitly take the suburbs as 作者: 雄偉 時(shí)間: 2025-3-24 11:48 作者: 藝術(shù) 時(shí)間: 2025-3-24 18:52
Book 20151st editionExploration, intertwined with home-seeking, has always defined America. Corbin argues that films about significant cultural landscapes in America evoke a sense of travel for their viewers. These virtual travel experiences from the mid-1970s through the 1990s built a societal map of "popular multiculturalism" through a movie-going experience.作者: Landlocked 時(shí)間: 2025-3-24 21:01
https://doi.org/10.1007/978-1-137-47971-6cinema; geography; map作者: LAVA 時(shí)間: 2025-3-25 00:19 作者: BIBLE 時(shí)間: 2025-3-25 04:21 作者: 大罵 時(shí)間: 2025-3-25 09:16 作者: Ablation 時(shí)間: 2025-3-25 13:30
Cinematic Geographies and Multicultural Spectatorship in America978-1-137-47971-6作者: Mindfulness 時(shí)間: 2025-3-25 17:22 作者: CIS 時(shí)間: 2025-3-25 20:27 作者: Atmosphere 時(shí)間: 2025-3-26 02:52
,“Home” Turns Otherworldly in the Suburbs,zed by sarcastic critique, while suburban-set films by affectionate idealization—as if to suggest that to openly acknowledge the defining qualities of suburbia is to expose them to ridicule and disdain.作者: 時(shí)代 時(shí)間: 2025-3-26 08:06
M. Ray Perryman,Nancy S. PerrymanIndian Country” lingers and must continually be positioned in relation to the rest of America. By framing it as a pocket of authenticity and roots within the larger nation, its foreignness becomes both tamed and integrated by those who have more freedom of movement. Indian Country films are thus the作者: epicondylitis 時(shí)間: 2025-3-26 12:27
Alberta H. Charney,Carol A. Taylorlture, a pleasure that derives from the touristic gaze at “disturbing” difference and the knowledge that one is safely insulated from that difference. Characters like the redneck villains of ., in whom are concentrated all the sins of the white South, become satisfying to hate through melodramatic c作者: JIBE 時(shí)間: 2025-3-26 13:55
https://doi.org/10.1007/978-4-431-55897-2zed by sarcastic critique, while suburban-set films by affectionate idealization—as if to suggest that to openly acknowledge the defining qualities of suburbia is to expose them to ridicule and disdain.作者: BLUSH 時(shí)間: 2025-3-26 20:00
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