標(biāo)題: Titlebook: Death in Classic and Contemporary Film; Fade to Black Daniel Sullivan,Jeff Greenberg Book 2013 Daniel Sullivan and Jeff Greenberg 2013 cine [打印本頁] 作者: 挑染 時(shí)間: 2025-3-21 19:38
書目名稱Death in Classic and Contemporary Film影響因子(影響力)
書目名稱Death in Classic and Contemporary Film影響因子(影響力)學(xué)科排名
書目名稱Death in Classic and Contemporary Film網(wǎng)絡(luò)公開度
書目名稱Death in Classic and Contemporary Film網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Death in Classic and Contemporary Film被引頻次
書目名稱Death in Classic and Contemporary Film被引頻次學(xué)科排名
書目名稱Death in Classic and Contemporary Film年度引用
書目名稱Death in Classic and Contemporary Film年度引用學(xué)科排名
書目名稱Death in Classic and Contemporary Film讀者反饋
書目名稱Death in Classic and Contemporary Film讀者反饋學(xué)科排名
作者: Saline 時(shí)間: 2025-3-21 22:09 作者: 從屬 時(shí)間: 2025-3-22 00:59 作者: 猛擊 時(shí)間: 2025-3-22 06:46 作者: wall-stress 時(shí)間: 2025-3-22 09:25 作者: 憎惡 時(shí)間: 2025-3-22 14:05
https://doi.org/10.1007/978-3-642-99745-7 We also discuss how a number of common central issues emerge as characters in the films confront and overcome the potential annihilation of civilization. We do so by examining apocalyptic films generally, and through a specific discussion of the plot of the film . (2006).作者: 憎惡 時(shí)間: 2025-3-22 20:35
The End is Near: Mortality Salience in Apocalyptic Films We also discuss how a number of common central issues emerge as characters in the films confront and overcome the potential annihilation of civilization. We do so by examining apocalyptic films generally, and through a specific discussion of the plot of the film . (2006).作者: 消滅 時(shí)間: 2025-3-22 23:20 作者: BUDGE 時(shí)間: 2025-3-23 03:59 作者: 莎草 時(shí)間: 2025-3-23 08:20 作者: 漂白 時(shí)間: 2025-3-23 13:04
Der Rational-Choice-Ansatz (RC-Ansatz) a brand-new and brightly colored universe where just about anything seemed possible. When lights switched on and the credits appeared, our boy felt alive and bursting with energy. Indeed, as the movie ads had promised, he found himself believing that a man could fly.作者: configuration 時(shí)間: 2025-3-23 17:20 作者: Musket 時(shí)間: 2025-3-23 20:26 作者: carotid-bruit 時(shí)間: 2025-3-23 22:54 作者: 輕而薄 時(shí)間: 2025-3-24 03:31 作者: indicate 時(shí)間: 2025-3-24 08:26
External representation of DIANA,ancer who plays the lead must dance not only the part of the white swan, but her evil twin, the black swan. “If I was only casting the White Swan, she’d be yours,” Thomas Leroy, the ballet director, played by Vincent Cassel, whispers in Nina’s ear, taunting her, during her audition. “But I’m not… Now show me your Black Swan, Nina!” he commands.作者: RAGE 時(shí)間: 2025-3-24 11:09
Definition of the Diana domain,ard-winning performance of its lead actor, Daniel Day-Lewis. While these technical aspects of the film are indeed masterful and worthy of study, the film’s narrative—as rewritten by Anderson from the Upton Sinclair novel . (1927/1997)—is also ingenious and deserving of analysis.作者: 過于光澤 時(shí)間: 2025-3-24 16:25 作者: 不利 時(shí)間: 2025-3-24 20:05
Substanzmissbrauch und Substanzabh?ngigkeitefforts of the authors, as there is quite a bit of stimulating material in their pieces. It is clear from their contributions alone that the role of death in cinema is an underappreciated but exciting subject for psychologists, philosophers, film scholars, and filmmakers alike.作者: Vertebra 時(shí)間: 2025-3-25 01:39 作者: Hdl348 時(shí)間: 2025-3-25 03:46 作者: 噴油井 時(shí)間: 2025-3-25 11:33
Death, Wealth, and Guilt: An Analysis of ard-winning performance of its lead actor, Daniel Day-Lewis. While these technical aspects of the film are indeed masterful and worthy of study, the film’s narrative—as rewritten by Anderson from the Upton Sinclair novel . (1927/1997)—is also ingenious and deserving of analysis.作者: jungle 時(shí)間: 2025-3-25 12:42 作者: 腐敗 時(shí)間: 2025-3-25 18:02 作者: 披肩 時(shí)間: 2025-3-25 20:22
hors with backgrounds in film analysis, psychology, and philosophy to examine how the knowledge of death, the fear of our mortality, and the ways people cope with mortality are represented in cinema.978-1-349-44686-5978-1-137-27689-6作者: Individual 時(shí)間: 2025-3-26 01:26 作者: 替代品 時(shí)間: 2025-3-26 05:37 作者: 你正派 時(shí)間: 2025-3-26 12:24 作者: ALOFT 時(shí)間: 2025-3-26 13:17 作者: Cardioversion 時(shí)間: 2025-3-26 18:40
https://doi.org/10.1007/978-981-10-0721-7 perspectives can be fruitfully applied to examining death in films, in this chapter we focus on how films illuminate the psychological consequences of the human awareness of death. To do so, we utilize a well-supported psychological theory regarding how people manage the problem of death to discuss作者: 暴露他抗議 時(shí)間: 2025-3-27 00:05 作者: Neutral-Spine 時(shí)間: 2025-3-27 02:01 作者: angina-pectoris 時(shí)間: 2025-3-27 06:29 作者: 擁擠前 時(shí)間: 2025-3-27 09:37
M. Henke,A. Jaeger,H.-J. Zimmermannconventional suburban Long Island youngster who failed to break into Hollywood and suffered near-fatal substance abuse, recreated himself as Timothy Treadwell, celebrity naturalist and uncanny intimate of Alaskan grizzly bears. Treadwell starred in hours of film that he shot to bring Alaskan bears t作者: HERE 時(shí)間: 2025-3-27 14:08
External representation of DIANA,ancer who plays the lead must dance not only the part of the white swan, but her evil twin, the black swan. “If I was only casting the White Swan, she’d be yours,” Thomas Leroy, the ballet director, played by Vincent Cassel, whispers in Nina’s ear, taunting her, during her audition. “But I’m not… No作者: vanquish 時(shí)間: 2025-3-27 21:37
Definition of the Diana domain,ard-winning performance of its lead actor, Daniel Day-Lewis. While these technical aspects of the film are indeed masterful and worthy of study, the film’s narrative—as rewritten by Anderson from the Upton Sinclair novel . (1927/1997)—is also ingenious and deserving of analysis.作者: 膝蓋 時(shí)間: 2025-3-28 01:18 作者: 修飾 時(shí)間: 2025-3-28 02:26
https://doi.org/10.1007/978-3-531-92063-4 collective death overshadowed society, and Western society in particular. The hydrogen bomb was detonated on Bikini atoll in 1954, and protest marches in the United States and Britain indicated the degree of anxiety felt about the prospect of nuclear annihilation (Bergman [1963] specifically talks 作者: 刻苦讀書 時(shí)間: 2025-3-28 08:00
https://doi.org/10.1007/978-981-16-0618-2re. Death comes in the form of systemic failures. It is evident in the spectacular collapse of rational plans and the machinery of human affairs, from the failed heist in . (1956), to the dysfunction in the military hierarchy of . (1957), and the only-too-functional doomsday machine in the death com作者: Nucleate 時(shí)間: 2025-3-28 13:57
DIIS Theory and Methodology in Think Tanks and technologically moribund, has acquired a certain aura of mortality that perhaps it did not have before.. To be sure, the history of the art has produced several indelible scenes and figurations of death—Ingmar Bergman’s . (1957) and Nicolas Roeg’s . (1973) come readily to mind—and as early as 1作者: Postulate 時(shí)間: 2025-3-28 16:44
DIIS Theory and Methodology in Think Tanksestiny of man” (p. ix). As Becker explains, humans push death out of their lives and out of their minds through various means. While Becker’s claims regarding the denial of death were meant to apply to all cultures, not all communities are dismissive of death.作者: 指派 時(shí)間: 2025-3-28 21:51 作者: expeditious 時(shí)間: 2025-3-29 01:28 作者: 學(xué)術(shù)討論會 時(shí)間: 2025-3-29 06:18 作者: ETCH 時(shí)間: 2025-3-29 08:29 作者: 引起痛苦 時(shí)間: 2025-3-29 13:44 作者: 玷污 時(shí)間: 2025-3-29 16:04
The End is Near: Mortality Salience in Apocalyptic Filmsreness and instinctual fear of mortality innate to humans. However, apocalyptic films are unique because characters must not only contemplate and respond to threats to their own individual existence, but must contend with societal annihilation as well. In this chapter we explore the psychological im作者: 隱藏 時(shí)間: 2025-3-29 20:28 作者: dissolution 時(shí)間: 2025-3-30 01:06
Icons of Stone and Steel: Death, Cinema, and the Future of Emotionnce Plato cast suspicion on emotion in the fifth century BC, we have had a love/hate relationship with it. Whereas the mind has traditionally been associated with timeless rational principles and regarded as a necessary condition of human freedom, emotion has been seen as an obstacle to autonomy tha作者: 特別容易碎 時(shí)間: 2025-3-30 06:19
Consumed in the Act: , and conventional suburban Long Island youngster who failed to break into Hollywood and suffered near-fatal substance abuse, recreated himself as Timothy Treadwell, celebrity naturalist and uncanny intimate of Alaskan grizzly bears. Treadwell starred in hours of film that he shot to bring Alaskan bears t作者: cutlery 時(shí)間: 2025-3-30 10:46
Black Swan/White Swan: On Female Objectification, Creatureliness, and Death Denialancer who plays the lead must dance not only the part of the white swan, but her evil twin, the black swan. “If I was only casting the White Swan, she’d be yours,” Thomas Leroy, the ballet director, played by Vincent Cassel, whispers in Nina’s ear, taunting her, during her audition. “But I’m not… No作者: cloture 時(shí)間: 2025-3-30 13:16
