Titlebook: Road Movies; From Muybridge and M Devin Orgeron Book 2008 Palgrave Macmillan, a division of Nature America Inc. 2008 cinema.David Lynch.Jea

NERVE

書(shū)目名稱Road Movies影響因子(影響力)




書(shū)目名稱Road Movies影響因子(影響力)學(xué)科排名




書(shū)目名稱Road Movies網(wǎng)絡(luò)公開(kāi)度




書(shū)目名稱Road Movies網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




書(shū)目名稱Road Movies被引頻次




書(shū)目名稱Road Movies被引頻次學(xué)科排名




書(shū)目名稱Road Movies年度引用




書(shū)目名稱Road Movies年度引用學(xué)科排名




書(shū)目名稱Road Movies讀者反饋




書(shū)目名稱Road Movies讀者反饋學(xué)科排名

確定

Early Cinema and the Mobilization of Narrative,ema itself, around the turn of the century. This chapter moves from what are typically considered non-narrative, pseudo-scientific and anthropological attempts to unravel the mysteries of mobility through early narrative comedies. This historical perspective foregrounds the cinema’s social and techn

Acetaminophen

Highways and Trails,degree of sometimes unquestioning scholarly repetition. A compelling Darwinistic logic has emerged that imagines the demise of unsustainable genres—the Western, for example—and the growth and development of mutated, hybrid (Timothy Corrigan might call them .) genres capable of fulfilling a given cul

Tidious

,Jean-Luc Godard’s , and the Road to the Road Movie,reens and nations. Fueled by a complex and self-interested studio system desperate to sell its product overseas, a combination of clamoring postwar French collectors and programmers and the lifting of France’s wartime embargo on American films caused an enormous influx of American cinema into France

Expurgate

,Misreading America in Dennis Hopper’s ,er’s own, admittedly hackneyed, words on the subject give shape to this assertion. Here, in the space of three semi-intelligible sentences about cinematic authorship, Hopper articulates a generation’s surging faith in the individual: “Film is an art-form, an expensive art-form, it’s the Sistine Chap

foreign

貪婪性

Roads and Movies as Another Century Turns,ng the cinematic highway. The chapter closely examines the late twentieth-century films of two filmmakers with established relationships to the cinematic road. Although their routes are different, like their cinematic predecessors of one hundred years prior, each uses the road to comment critically

acclimate

Epilogue New Directions and Intersections,nation with the road and its meandering course through both familiar and new territory beyond, at least partly, American and European traditions. The year 2005 saw the re-release of Michelangelo Antonioni’s . (., 1975), a film that finds David Locke, a British citizen educated in America and played

concubine

HUMP