標(biāo)題: Titlebook: Visions of Struggle in Women‘s Filmmaking in the Mediterranean; Flavia Laviosa Book 2010 Palgrave Macmillan, a division of Nature America [打印本頁(yè)] 作者: FARCE 時(shí)間: 2025-3-21 20:02
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作者: debacle 時(shí)間: 2025-3-22 00:14
und Freiheit. Jetzt erhielten wir auch noch die Einheit. Und der Frieden, soweit wir uns von ihm einen . Begriff machen, also damit Abwesenheit von Krieg meinen, ist uns sicherer denn je geworden. Vor allem den gro?en Krieg, die ?nukleare Sintflut‘, die die, Unsterblichkeit der menschlichen Zivilisa作者: 拉開(kāi)這車床 時(shí)間: 2025-3-22 02:46 作者: ABOUT 時(shí)間: 2025-3-22 06:59 作者: Liability 時(shí)間: 2025-3-22 10:42 作者: 語(yǔ)源學(xué) 時(shí)間: 2025-3-22 15:03
Wandel bieten. Für eine erste Auseinandersetzung mit der Thematik Wandel/Ver?nderung m?chte ich an dieser Stelle auf Türk verweisen. Dieser definiert Ver?nderung respektive Wandel folgenderma?en: ??Ver?nderung‘ hei?t … zun?chst einmal schlicht: ein beobachtetes Merkmal weist im Vergleich seiner Ausp作者: Obliterate 時(shí)間: 2025-3-22 20:59 作者: 可憎 時(shí)間: 2025-3-22 22:32 作者: 積云 時(shí)間: 2025-3-23 02:39
Maria Paradeisixists have presented such a theory so bleakly and bluntly. Marcuse’s dilemma was that he wanted at the same time to remain a Marxist, be loyal to the project of critical theory developed by the Institute for Social Research, and be an independent thinker. In view of his writings and activity both be作者: 向前變橢圓 時(shí)間: 2025-3-23 06:08 作者: Ossification 時(shí)間: 2025-3-23 13:47 作者: 避開(kāi) 時(shí)間: 2025-3-23 16:08
more important reasons for this increased interest are the large numbers of naturally-occuring resistant biotypes (from one in the early 1970s to over 250 biotypes in 1989 [1]) and the large number of herbicide-resistants mutants that have been selected in cell culture, by mutation of the “plant-gen作者: Bph773 時(shí)間: 2025-3-23 19:10 作者: CORE 時(shí)間: 2025-3-24 00:23
https://doi.org/10.1057/9780230105201Arabic; cinema; critique; French; mediterranean; poetry; women作者: Albinism 時(shí)間: 2025-3-24 06:03 作者: 災(zāi)禍 時(shí)間: 2025-3-24 09:01 作者: 鄙視讀作 時(shí)間: 2025-3-24 14:24 作者: Glower 時(shí)間: 2025-3-24 16:40
This Woman’s Work: Filming Defeat in the Arabic Idiom: Poetry, Cinema, and the Saving Grace of Hala e counterparts. Conversely, in countries where women’s rights have not been a chief concern of the state or regime, but where society remains (relatively) open, tolerant, dynamic, and politically plural, like Palestine and Lebanon, the ratios come closer to being equal.作者: 無(wú)法解釋 時(shí)間: 2025-3-24 19:37
My Terrorist , My Land Zionassimilating different people from diverse ethnic, religious, and national groups, its hegemonic culture imagines, views, and represents itself as the origin and cradle of “Western Civilization” at the expense of excluding its rich and diverse Arab, Muslim, Jewish, Levantine, African, and Semitic cu作者: 忘川河 時(shí)間: 2025-3-25 02:57
The Wiles of Maghrebi Women’s Cinematheless manufactured and sustained an uncommon form of resistance that goes against the grain of at least two superimposed patriarchal systems: the global system of film production, and the regional configuration of culture, society, and politics particular to Algeria, Morocco, and Tunisia.作者: Inelasticity 時(shí)間: 2025-3-25 03:39 作者: Gleason-score 時(shí)間: 2025-3-25 08:14
Mutilating and Mutilated Bodies: Women’s Takes on “Extreme” French Cinemalmmakers (Tarr with Rollet 2001, Audé 2002). However, since the 1990s, few of these filmmakers have explicitly claimed to make films from a feminist perspective or opted for an alternative feminist counter-cinema, feminist discourses having been effectively marginalized in a postfeminist France.. Ra作者: 淡紫色花 時(shí)間: 2025-3-25 12:53 作者: 儲(chǔ)備 時(shí)間: 2025-3-25 17:37 作者: 動(dòng)脈 時(shí)間: 2025-3-25 20:43
Maria, Irene and Olga “à la recherche du temps perdu …”1980s to portrayals of identity issues, gender roles, private stories, relationships, and feelings. Filmmaker Elissavet Chronopoulou explains this change of direction by stating, “we are trying to allow emotion to pass into our films. The manner in which you use it is a matter of personal taste. But作者: compel 時(shí)間: 2025-3-26 03:36 作者: overbearing 時(shí)間: 2025-3-26 04:52 作者: Substance-Abuse 時(shí)間: 2025-3-26 09:53
Book 2010in the Mediterranean rim, this book spurs a contemporary discussion of women s human, civil, and social rights while situating feminist arguments on women s identity, roles, psychology and sexuality. Although their methodologies are diverse, these artists are united in their use of cinema as a means作者: Aerate 時(shí)間: 2025-3-26 15:06
Book 2010 of intervention, taking on the role as outspoken and leading advocates for women s problems. Contributors examine the ways in which cinematic art reproduces and structures the discourses of realism and represents Mediterranean women s collective experience of struggle.作者: 表臉 時(shí)間: 2025-3-26 19:54 作者: FEAS 時(shí)間: 2025-3-26 22:48
2752-3209 countries in the Mediterranean rim, this book spurs a contemporary discussion of women s human, civil, and social rights while situating feminist arguments on women s identity, roles, psychology and sexuality. Although their methodologies are diverse, these artists are united in their use of cinema 作者: bioavailability 時(shí)間: 2025-3-27 03:30
Take My Eyesg what in the past might have been unthinkable or certainly unacceptable. Spanish directors have sought to startle, to excite, and to break with the stifling traditions that had shackled creative freedom and impeded progress, social change, and experimentation under the repressive regime of Francisco Franco (1936–1975).作者: Trigger-Point 時(shí)間: 2025-3-27 07:34
Mutilating and Mutilated Bodies: Women’s Takes on “Extreme” French Cinemaopular genres such as comedy, costume drama, crime fiction, and the road movie, evident in box office successes such as Nicole Garcia’s . (1998), Tonie Marshall’s . (1999), and Agnès Jaoui’s . (2004).作者: 斜谷 時(shí)間: 2025-3-27 12:38
My Terrorist , My Land Zionmic to the country’s formation of a national identity and is intimately linked to its continuing conflict with the Arab world in general and the Palestinians in particular. I analyze these contradictions by closely studying two documentary films, . (Yulie Cohen-Gerstel, Israel, 2002) and . (Yulie Co作者: aristocracy 時(shí)間: 2025-3-27 14:13
Anthropological Anxieties: Roberta Torre’s Critique of Mafia Violence whose previous experience was in documentaries and short subjects. While the film’s flamboyant aesthetics and grotesque humor won rave reviews, a small number of dissenting voices took objection to its lighthearted approach to Mafia violence. . thus marked the director’s emergence as an innovative 作者: 火海 時(shí)間: 2025-3-27 18:03 作者: 肉體 時(shí)間: 2025-3-27 23:48
Maria, Irene and Olga “à la recherche du temps perdu …”cters. Films such as . . by Olga Malea (2000), . . (2001) by Antouanetta Angelidi, . (2002) by Kleoni Flessa, and . by Eleni Alexandrakis (2004) all present stories of modern women struggling with professional self-realization and personal fulfillment.作者: 世俗 時(shí)間: 2025-3-28 02:59
Hard to Bear: Women’s Burdens in the Cinema of Ye?im Ustao?luave been virtually taboo in mass media such as film. Liberal Turks consider the diversity of other nationalities and ethnic groups to be enriching, but right-wing conservatives have often found “otherness” to be threatening, particularly when linked to past hostilities. Women directors are among the作者: 甜得發(fā)膩 時(shí)間: 2025-3-28 08:16
Visions of Struggle in Women‘s Filmmaking in the Mediterranean作者: 的染料 時(shí)間: 2025-3-28 11:11 作者: 蝕刻術(shù) 時(shí)間: 2025-3-28 14:47
te deutsche Cucania (franz. Cocagne), das für sie gar nicht fabelhafte, sondern wirkliche ?Kuchenland‘, str?men oder hier schon l?nger wie Lazarus leben, w?re da nicht das farbige Medium, das nicht vergi?t, den Hungerbauch des kleinen Negerleins in unser Wohnzimmer zu bringen, damit wir nicht verges作者: 歌劇等 時(shí)間: 2025-3-28 21:36 作者: 廚房里面 時(shí)間: 2025-3-29 02:04
