Titlebook: American–Australian Cinema; Transnational Connec Adrian Danks,Stephen Gaunson,Peter C. Kunze Book 2018 The Editor(s) (if applicable) and Th

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書目名稱American–Australian Cinema影響因子(影響力)




書目名稱American–Australian Cinema影響因子(影響力)學(xué)科排名




書目名稱American–Australian Cinema網(wǎng)絡(luò)公開度




書目名稱American–Australian Cinema網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱American–Australian Cinema被引頻次




書目名稱American–Australian Cinema被引頻次學(xué)科排名




書目名稱American–Australian Cinema年度引用




書目名稱American–Australian Cinema年度引用學(xué)科排名




書目名稱American–Australian Cinema讀者反饋




書目名稱American–Australian Cinema讀者反饋學(xué)科排名

Minatory

新娘

verthe last century. The contributors re-examine the concept and definition of Australian cinema in regard to a range of local, international and global practices and trends that blur neat categorisations of na978-3-319-88298-7978-3-319-66676-1

Omnipotent

土產(chǎn)

爵士樂

議程

Die Ermittlung der inneren Spannungen,ue suggests an alternate narrative that begins with the 1981 reconstruction of the film. The reconstruction ruptures the spatial and temporal unity of the film by incorporating into the diegesis archival material that spans temporally and spatially diverse domains of cultural production. Through an

朝圣者

Die Ermittlung der inneren Spannungen,orical context for what would become a vibrant and diverse Indigenous cinema, I discuss how Indigenous peoples have been represented by non-Indigenous filmmakers, in particular in the Bushranger film genre, a hybridised Australian version of the Hollywood western. I explore the confluences and cultu

acrobat

Die Grundz?ge des Eisenbetonbauesly and physically challenging parts rather than glamorous roles, Collette has crafted an anti-star persona by playing women living with mental illness or psychological trauma, or mothers caring for family members with mental health issues. Chapter 4 discusses key films that helped establish Collette

固執(zhí)點好

Die Grundzüge des Eisenbetonbauestakings. . reviewer Tom Buckley noted with some irritation that its dialogue had been dubbed and was often out of sync. Declaring the film “ugly and incoherent,” Buckley states: “much of the rudimentary dialogue in this Australian film has been dubbed from ‘strine,’ the thick dialect of the subconti