确定的事 发表于 2025-3-23 12:01:58
Zan Li,Zhuangqing Yang,Huaihua Qi,Kun Wang,Wuping Zheng,Pengcheng Su,Haiyan Gaoy space, but also for the audience to envision ‘what utopia would feel like’, something that may or may not be realised at the end of the film. Such a film genre has not been common in Third Cinema, a preferred style and aesthetic for many African films debuted since Ousmane Sembène, who likened theSputum 发表于 2025-3-23 15:19:06
Dajiang Song,Narushima Mitsunagamusic ‘takes over’ and the surreal often becomes the accepted filmic reality are examined in reference to two recent theoretical approaches: ‘musical moments’ (Amy Herzog) and ‘crystal songs’ (Phil Powrie). Divided up into four parts, the book’s chapters apply these two differing but overlapping theauxiliary 发表于 2025-3-23 21:22:14
http://reply.papertrans.cn/71/7014/701399/701399_13.pngParaplegia 发表于 2025-3-23 22:47:54
http://reply.papertrans.cn/71/7014/701399/701399_14.png痛得哭了 发表于 2025-3-24 03:08:27
Zan Li,Rene D. Largog and scholarship regarding global and local educational and social challenges. They offer tangible, aesthetic and rigorous examples for researchers, educators,community practitioners and research students to engage with a/r/tography and critical walking inquiry..978-3-030-88612-7Series ISSN 2946-5516 Series E-ISSN 2946-5524Myosin 发表于 2025-3-24 10:24:06
Zan Li,Xiaomin Yangg and scholarship regarding global and local educational and social challenges. They offer tangible, aesthetic and rigorous examples for researchers, educators,community practitioners and research students to engage with a/r/tography and critical walking inquiry..978-3-030-88612-7Series ISSN 2946-5516 Series E-ISSN 2946-5524BULLY 发表于 2025-3-24 12:10:15
Yixin Zhang,Tor Woo Chiu,Peixian Chen,Rui Zhang,Jun Chai,Peizhi Fan,Jianyun Nie,JingHua Zhang,Lei WaGULF 发表于 2025-3-24 17:27:48
http://reply.papertrans.cn/71/7014/701399/701399_18.pngFLIC 发表于 2025-3-24 21:14:57
History of DIEP Flap in Breast and Chest Wall Reconstruction,Conserve 发表于 2025-3-25 00:37:56
Zan Li,Pengcheng Suof ‘zany’ comedy and Lauren Berlant’s notion of the ‘impasse’, the chapter argues that the film’s deliberate frustration of some of the musical moment’s more utopic functions is key to its affective indexing of the present and the conditions of post-industrial capitalism.