尾随
发表于 2025-3-23 11:38:48
Vivian P. Y. Leels is intended to serve as a ready-to-use guide to establish and interrogate human and animal models of autoimmune diseases. The first chapter, “Pathogenesis and Spectrum of Autoimmunity,” discusses major hypotheses driving this most tantalizing area of research since Paul Ehrlich proposed the conce
eulogize
发表于 2025-3-23 15:01:39
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绅士
发表于 2025-3-23 20:55:02
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智力高
发表于 2025-3-23 22:44:43
Introduction in 1997. Neither an empirical survey nor historical account of the film industry, it attends to what I call the post-nostalgic imagination in Hong Kong cinema in the first decade of Chinese rule. Aesthetically, the post-nostalgic has nuanced connections with a long tradition of filmmaking that has
增减字母法
发表于 2025-3-24 04:31:49
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潜伏期
发表于 2025-3-24 09:15:25
Cinematic Remembrances: , and d for both profit and prestige in the run-up to 1997. This prospect and the accompanying social and political misgivings provided a frame of reference and subject matter for some filmmakers to reflect on issues of local history and identity. As I have pointed out in the ‘Introduction’, the search fo
Charade
发表于 2025-3-24 11:32:50
Allegory, Kinship, and Redemption: , and ,day, this long legacy of European settlement and colonization is still visible in city’s architecture, the street names, and the Macanese population. Though not as dominant as English in Hong Kong, Portuguese still finds nominal usage in official titles, public documents, and institutional names. Pa
CUB
发表于 2025-3-24 16:10:05
Lost in the Cosmopolitan Crime Zone: Johnnie To’s Urban Legendsproductions by Johnnie To and his Milkyway Image Productions as representatives of a new aesthetic of police and gangster films, a major branch of Hong Kong’s action cinema since the 1980s. While the action film has played a central role in the internationalization of Hong Kong cinema since the days
作茧自缚
发表于 2025-3-24 22:57:49
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Fallibility
发表于 2025-3-25 02:20:14
Karmic Redemption: Memory and Schizophrenia in Hong Kong Action Films-nostalgic engagement with local cinematic conventions, and thereby redefine action and heroism in terms of theatricality, stasis, and conflicted psychological states of morally and/or physically compromised characters. To’s work replaces individualistic heroism with a flexible group ethic that, in