cipher
发表于 2025-3-23 12:46:21
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BARGE
发表于 2025-3-23 15:33:20
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使成核
发表于 2025-3-23 20:37:31
eriod films made subsequently have been subsumed under this proliferating critical framework (Monk and Sargeant 2002: 11). That heritage cinema has emerged as such an attractive label is all the more surprising given that it has come under attack for promoting a class-biased, conservative and consen
CURB
发表于 2025-3-23 22:57:43
nage. As Claire Monk (2002) has pointed out, the critical characterisation of heritage cinema, a descriptor coined by critics rather than a genre recognised as such by industry and audiences, has to be understood as emerging from the splenetic British political atmosphere of the Margaret Thatcher pr
allude
发表于 2025-3-24 06:04:55
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BRAWL
发表于 2025-3-24 10:14:49
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演绎
发表于 2025-3-24 12:00:42
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懒惰人民
发表于 2025-3-24 15:41:44
Pierre Menguyce indebted to the past and resolutely contemporary. Some films represent the ancient world directly, drawing on historical or literary sources, but many that focus on contemporary narratives can be shown to be inspired—directly or not—by ancient myths whose history is so influential that they perva
序曲
发表于 2025-3-24 19:36:32
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dowagers-hump
发表于 2025-3-25 02:53:35
Claire Diottrayal among Irish Republican Army terrorists in Dublin on one night in 1922. The novel presents an allegory of Irish national character through the desires and self-deception of the animalistic Gypo Nolan, whose internal monologues reflect the shifting political consciousness during the Sinn Fein r