Titlebook: Contemporary Argentine Women Filmmakers; Mirna Vohnsen,Daniel Mourenza Book 2023 The Editor(s) (if applicable) and The Author(s), under ex

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書目名稱Contemporary Argentine Women Filmmakers影響因子(影響力)




書目名稱Contemporary Argentine Women Filmmakers影響因子(影響力)學(xué)科排名




書目名稱Contemporary Argentine Women Filmmakers網(wǎng)絡(luò)公開度




書目名稱Contemporary Argentine Women Filmmakers網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Contemporary Argentine Women Filmmakers被引頻次




書目名稱Contemporary Argentine Women Filmmakers被引頻次學(xué)科排名




書目名稱Contemporary Argentine Women Filmmakers年度引用




書目名稱Contemporary Argentine Women Filmmakers年度引用學(xué)科排名




書目名稱Contemporary Argentine Women Filmmakers讀者反饋




書目名稱Contemporary Argentine Women Filmmakers讀者反饋學(xué)科排名

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Jeanine Meerapfel, Cosmopolitan Auteur of the Immigrant Condition director ever. While scholars have tended to examine her films individually or grouped by nation of production, Matt Losada’s chapter considers instead the transnational dimension of her work as what Mette Hjort calls ., which “emerges as the …?effect of a lived experience of the limits of national

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Sisterhood on the Threshold in Julia Solomonoff’s , (2005) Victor Turner as representing “the midpoint of transition in a status-sequence between two positions” (1974, 237). These two positions refer to social structures that are suspended during the liminality phase. Focusing on the protagonists’ spatial isolation in a suburban Texas neighbourhood and the

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他很靈活

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They Are All Around Us: Pain, Memory and Multisensory Images in Paula Markovitch’s , (2011)hiding from the military in a precarious beach house with her mother during the last dictatorship in Argentina. Following Louis Althusser and Laura Marks’s theories, Severiche examines an . and an . point made by Markovitch in the film. The former refers to the act of witnessing the state’s painful

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The Oppositional Gaze in the Argentine Cinema of Migration: Negotiating Chinese Identity and Coloniaon sexism and racism. The German filmmaker proposes a new visual form of narrative in line with bell hook’s concept of the “oppositional gaze.” Wohlatz reinterprets the gaze, negotiating her own outsider position in Argentina vis-à-vis the film’s protagonist, Xiaobin, a Chinese newcomer trying to ad