euphoria
发表于 2025-3-27 00:29:37
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stress-response
发表于 2025-3-27 02:44:00
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arbiter
发表于 2025-3-27 08:23:27
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FOIL
发表于 2025-3-27 11:07:09
https://doi.org/10.1007/978-1-349-12650-7ries produced by HBO—from . (1999−2007) to . (2011−)—. is an example of a new form of television with its own distinctive mode of narration. This chapter uses . as a case study through which to explore the ways in which the mode of narration employed in HBO series has influenced television made in A
Gudgeon
发表于 2025-3-27 15:32:41
Gordon S. Haight,Hugh Witemeyerhat explain how the public understands what Australian consumers have lost following the decline of video stores, or will lose in a post-video store era: from the materiality of filmic objects to, paradoxically, the loss of a perceived ease of access. These narratives complicate the notion that vide
Pastry
发表于 2025-3-27 18:01:46
: Australianising HBO-Style Television?ries produced by HBO—from . (1999−2007) to . (2011−)—. is an example of a new form of television with its own distinctive mode of narration. This chapter uses . as a case study through which to explore the ways in which the mode of narration employed in HBO series has influenced television made in Australia in the 2000s.
incredulity
发表于 2025-3-27 23:07:37
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Pituitary-Gland
发表于 2025-3-28 03:30:00
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crescendo
发表于 2025-3-28 10:06:53
Gender Matters: Gender Policy and the Rewriting of the Mother–Daughter Narrative in Contemporary Ausre Margot Nash’s personal essay documentary film . (2015), Sophie Hyde’s queered coming-of-age film . (2014) and Sue Brooks’ dramedy . (2015). Whilst these three films differ in genre, aesthetic and budget, each uses interruption as way of creating spaces for different kinds of intergenerational female stories.
THROB
发表于 2025-3-28 11:10:15
The Laughter and the Tears: Comedy, Melodrama and the Shift Towards Empathy for Mental Illness on Scoint of audience identification. To illustrate this shift, Hopgood examines five feature films that traverse melodrama and comedy—. (2007); . (2007); . (2008); . (2009); and . (2012)—and finds that each employs a range of strategies to encourage our empathy for the character living with a mental illness.