Titlebook: European Cinema in the Twenty-First Century; Discourses, Directio Ingrid Lewis,Laura Canning Textbook 2020 The Editor(s) (if applicable) an

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SEED

FLORA

AGONY

Kritik der Transformationsforschung,ee European films, which have, as their theme, the life of a physically disabled character: . (Alejandro Amenábar 2004), . (Julian Schnabel 2007) and . (Olivier Nakache and éric Toledano 2011). The discourse of disability in these films follows a trajectory, which is examined in relation to Paul Dar

overwrought

Der Künstler als Anatom der Wirbels?uleficant hallmark of ‘national cinema’, often acting as a means to demonstrate the ‘natural’ constitution of national narratives. K??p? outlines the diverse ways in which the environment has been appropriated for these purposes, as well as the means through which these appropriations have been present

crescendo

crescendo

盡管

Die Wirklichkeit der virtuellen Weltenever Globan argue that Oliveira’s longevity and prolific career allowed him to carry into the twenty-first century a set of female representations which can be considered highly problematic in the context of contemporary society. By focusing on . (2006), . (2009) and . (2010), the chapter explains h

有花

https://doi.org/10.1007/978-3-322-90685-4the 21st Century’ list. The analysis of this particular film is contextualized in the overall history of Romanian national cinema and showcases its relevance in international film culture. The overall purpose of Pop’s chapter is to identify the aesthetic, narrative and cinematographic attributes tha

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