標(biāo)題: Titlebook: Cultural Specificity in Indonesian Film; Diversity in Unity David Hanan Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Anth [打印本頁] 作者: Flexibility 時間: 2025-3-21 20:06
書目名稱Cultural Specificity in Indonesian Film影響因子(影響力)
書目名稱Cultural Specificity in Indonesian Film影響因子(影響力)學(xué)科排名
書目名稱Cultural Specificity in Indonesian Film網(wǎng)絡(luò)公開度
書目名稱Cultural Specificity in Indonesian Film網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Cultural Specificity in Indonesian Film被引頻次
書目名稱Cultural Specificity in Indonesian Film被引頻次學(xué)科排名
書目名稱Cultural Specificity in Indonesian Film年度引用
書目名稱Cultural Specificity in Indonesian Film年度引用學(xué)科排名
書目名稱Cultural Specificity in Indonesian Film讀者反饋
書目名稱Cultural Specificity in Indonesian Film讀者反饋學(xué)科排名
作者: 向外供接觸 時間: 2025-3-21 23:41 作者: 夾克怕包裹 時間: 2025-3-22 00:41 作者: 污穢 時間: 2025-3-22 07:17 作者: 體貼 時間: 2025-3-22 09:52
Regions and Regional Societies and Cultures in the Indonesian Cinema, archipelago between 1953 and 1994. The societies depicted in the films are West Sumatra (a matrilineal, largely Islamic society); East Java; the Betawi sub-culture around Jakarta; the strongly Islamic province of Aceh; and the megalithic but partly Christianized island of Sumba. The chapter aims no作者: Notorious 時間: 2025-3-22 14:38 作者: Notorious 時間: 2025-3-22 20:38 作者: 去才蔑視 時間: 2025-3-22 22:31
Women in a Context of Cultural Difference,sewhere (through their objectification via an investigative ‘male gaze’, for example) the chapter explores four Indonesian films (both contemporary dramas and films set in the past) in which women, even though shown as having to struggle and resist oppression, are given status, forcefulness and a ca作者: 休戰(zhàn) 時間: 2025-3-23 03:41
its beginnings in the colonial period in 1926.Addresses direThis book explores ways in which diverse regional cultures in Indonesia and their histories have been expressed in film since the early 1950s. It also explores underlying cultural dominants within the new nation, established at the end of 1作者: epinephrine 時間: 2025-3-23 05:36 作者: 謊言 時間: 2025-3-23 10:37
Group Body Language in Performance Art, Films and Dance by the Indonesian Avant-Garde,hapter makes use of Bourdieu’s notion of ., a term referring to the way human beings internalize aspects of their cultures in their bodies and body language. It also deploys theoretical frameworks developed Bateson and Mead in their pioneering work of visual anthropology, .作者: 濕潤 時間: 2025-3-23 16:37
cludes a discussion of the kinds of cultural specificity addressed with regard to film in other countries, particularly the work of Noel Burch on Japanese cinema, and Ravi Vasudevan and others on Indian film, but also theoretical questions raised about cultural specificity by these authors, and by the theorist of ‘Third Cinema’, Teshome Gabriel.作者: fatuity 時間: 2025-3-23 19:58
hapter makes use of Bourdieu’s notion of ., a term referring to the way human beings internalize aspects of their cultures in their bodies and body language. It also deploys theoretical frameworks developed Bateson and Mead in their pioneering work of visual anthropology, .作者: Seizure 時間: 2025-3-23 23:22 作者: 中古 時間: 2025-3-24 03:46 作者: 描述 時間: 2025-3-24 08:50
e in the 1950s, the 1970s and the new millennium, periods in which new generations of talent emerged. It also outlines the economics of the industry, including competition between locally produced films and product from Hollywood, Hong Kong and India..作者: obstruct 時間: 2025-3-24 12:11 作者: 大酒杯 時間: 2025-3-24 15:23 作者: 咒語 時間: 2025-3-24 22:03
of the superior status (compared with India, for example) given to women in some countries in early modern South East Asia, and signs of its presence even in contemporary times, as discerned by Western anthropologists.作者: 褪色 時間: 2025-3-24 23:32 作者: 干涉 時間: 2025-3-25 05:02 作者: 形上升才刺激 時間: 2025-3-25 11:11
Regions and Regional Societies and Cultures in the Indonesian Cinema,ms and forms of expression, and its social structure. The chapter emphasizes the different approaches of each film to the society in which its story is set. Directors whose work is discussed include Djayakusuma, Asrul Sani, Nya Abbas Akup, Eros Djarot and Garin Nugroho.作者: BLUSH 時間: 2025-3-25 15:30
Body Language: From Wall Reliefs and Painting to Popular Narrative Film,rption of teenagers in a same-sex group to the formation of a heterosexual couple in two Indonesian films. He concludes with reflections on the political implications of group conformity, satirized in an important, suppressed Indonesian film.作者: 拖債 時間: 2025-3-25 17:17
Women in a Context of Cultural Difference,of the superior status (compared with India, for example) given to women in some countries in early modern South East Asia, and signs of its presence even in contemporary times, as discerned by Western anthropologists.作者: 頌揚本人 時間: 2025-3-25 21:49 作者: 嚴(yán)峻考驗 時間: 2025-3-26 02:22
https://doi.org/10.1007/978-3-319-40874-3Anthropology; Body language; Film; Cinema; World cinema; Third world cinema; South East Asia; Indonesia; Rep作者: Morsel 時間: 2025-3-26 07:43
978-3-319-82206-8The Editor(s) (if applicable) and The Author(s) 2017作者: Blazon 時間: 2025-3-26 10:18
David HananThe only book in English that explores systematically films regarded in Indonesia as classics.Surveys the pre-1950 production industry from its beginnings in the colonial period in 1926.Addresses dire作者: 博愛家 時間: 2025-3-26 13:07 作者: 樂器演奏者 時間: 2025-3-26 17:59 作者: 星球的光亮度 時間: 2025-3-27 00:25
he time Indonesia achieved independence from Dutch colonialism in 1949. Hanan explores the foundational concepts of the new nation, summarized in the national philosophy of . first promulgated in 1945 in writings by Sukarno. Hanan also outlines five phases of the nation’s history since independence,作者: infinite 時間: 2025-3-27 04:44
role of Chinese Indonesians as producer/directors of the majority of the films made in the colonial period, and also survey the period of the Japanese occupation (1942–45), when film production was controlled by the Japanese. Later sections explore the main phases of production since the achievement作者: alabaster 時間: 2025-3-27 08:57 作者: 骨 時間: 2025-3-27 11:48
s, it is not the individual psyche (as in films by Bu?uel), nor even the individual body (as in films by Maya Deren), but multiple bodies organized as a group, that is most distinctive. This is demonstrated in Gotot Prakosa’s . (1979), Sardono W. Kusuma’s . (1993) and Garin Nugroho’s . (2000). The c作者: Limerick 時間: 2025-3-27 16:55 作者: 騎師 時間: 2025-3-27 18:11 作者: 寄生蟲 時間: 2025-3-28 00:12 作者: 雀斑 時間: 2025-3-28 02:09
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