竖琴
发表于 2025-3-25 05:25:51
https://doi.org/10.1057/9780230109742cinema; Europe; fascism; knowledge; subject
雀斑
发表于 2025-3-25 11:31:56
978-1-349-28823-6Palgrave Macmillan, a division of Nature America Inc. 2010
通便
发表于 2025-3-25 13:08:42
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senile-dementia
发表于 2025-3-25 16:54:19
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Hyaluronic-Acid
发表于 2025-3-25 23:21:57
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BOLT
发表于 2025-3-26 02:43:33
Cross-Border Interactions and Regionalismenaissance city in northern Italy, stunning our senses with its beauty; this intense aesthetic pleasure is, characteristically, a snare that Bertolucci gradually tightens until we, the spectators, are struggling uncomfortably in a trap woven from what we can only recognize as the silken strands of o
Awning
发表于 2025-3-26 04:24:45
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Obstruction
发表于 2025-3-26 12:15:45
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不能和解
发表于 2025-3-26 14:26:48
Willem de Vries,Maximilian Posch,Juha Kämärithe architectonics of reason:” “It is impossible to build anything whatsoever from or on this debris. All one can do is thread one’s way through it, slip and slide through the ruins, listen to the complaints that emanate from them.” Citing Walter Benjamin and Theodore Adorno, Lyotard continues: “Phi
Truculent
发表于 2025-3-26 19:43:15
Introduction,ascist past. Fascism persists as the rubble-field of cinema after 1945, its constituent elements taken up as building blocks for new visions and new constructions, which never fully escape the mark of their origin. The ruins of war, a recurring image in postwar cinema, are emblematic of a broader co