Inoculare
发表于 2025-3-21 17:04:31
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薄膜
发表于 2025-3-21 20:52:51
Region-Building in North Africathe traces of the past. All three directors repeatedly confront us with a visual summary of what has been lost and of the ad hoc quality of new constructions in these landscapes of destruction. Like Rossellini, Wilder and Reed focus their films on a confrontation between the fascist culture that now
不能和解
发表于 2025-3-22 02:04:10
Cross-Border Interactions and Regionalismon is glimpsed only briefly, presents, like the overtly visible ruins of Rossellini’s ., an insistent question: how does postwar Italy rebuild, relive, renarrate, and recinematize the Italy of Mussolini? Rather than the rubble we see in Rossellini’s film and in Helma Sanders-Brahms’ ., or the traces
Delirium
发表于 2025-3-22 06:02:17
The Finnish Integrated Acidification Models he examines the persistence of structures of desire and power. To this damaged historiography is added the ruination of desire and spectatorship. The subject is constituted both as a phantasm of spectacle (a creature of smoke and mirrors) and as an obsessive spectator, with scopophilia as the ruli
外形
发表于 2025-3-22 11:12:35
Willem de Vries,Maximilian Posch,Juha Kämäriolocaust film spectator must negotiate. My discussion in . has focused detailed attention on a few films, attempting both to engage them closely on a textual level and to situate them in dialogue with each other and with a complex spectrum of ideological, historiographic, or aesthetic discourses. In
Abrade
发表于 2025-3-22 14:47:37
Introduction,o reconfigure the idioms of cinema, ranging from the ambivalently postfascist neorealism of Roberto Rossellini to the “neomelodramas” of Rainer Werner Fassbinder, remain highly precarious. These new cinematic languages are never fully naturalized: the joists and scaffolding remain visible and indeed
Abrade
发表于 2025-3-22 18:13:31
The Ghost in the Rubble,the traces of the past. All three directors repeatedly confront us with a visual summary of what has been lost and of the ad hoc quality of new constructions in these landscapes of destruction. Like Rossellini, Wilder and Reed focus their films on a confrontation between the fascist culture that now
颂扬国家
发表于 2025-3-22 22:17:04
The Web of Spectacle,on is glimpsed only briefly, presents, like the overtly visible ruins of Rossellini’s ., an insistent question: how does postwar Italy rebuild, relive, renarrate, and recinematize the Italy of Mussolini? Rather than the rubble we see in Rossellini’s film and in Helma Sanders-Brahms’ ., or the traces
indignant
发表于 2025-3-23 01:58:57
The Passion of Veronika Voss,s he examines the persistence of structures of desire and power. To this damaged historiography is added the ruination of desire and spectatorship. The subject is constituted both as a phantasm of spectacle (a creature of smoke and mirrors) and as an obsessive spectator, with scopophilia as the ruli
发炎
发表于 2025-3-23 06:37:26
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