和尚吃肉片
发表于 2025-3-21 19:51:09
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expire
发表于 2025-3-21 22:47:07
Subjectivity and Dialectics,perspective. The chapter also looks at the representation of subjectivity in Tarantino’s films from this angle, offering in-depth discussions of the narratives and the characters in . (1997) and . (2012), here regarded through the lens of Hegel’s master–slave dialectics.
SIT
发表于 2025-3-22 04:07:06
Spectatorship, Genre and Violence,. (1992), highlighting in particular its focus on the viewer’s sensory and psychological experience and the role of the audience’s masochistic enjoyment. It then looks at how these issues are addressed in four films written and directed by Tarantino: . (2003–2004), . (2007), . (2009) and . (2019).
MOTTO
发表于 2025-3-22 07:57:54
Beyond Postmodernism,ely focused on ‘cool’ images and self-reflexive narratives, thus embodying the refusal of both classical and modernist aesthetics. Drawing on Rancière’s theory, the chapter examines the style and the narratives of . (1992) and . (1994) to show that it is possible to take a different approach towards Tarantino’s storytelling.
Consequence
发表于 2025-3-22 12:07:19
Space, Time and Dialectics,eral and Tarantino’s films in particular. The chapter examines . (1992), . (1994), and . (2015) to offer a different presentation of Jameson’s dialectical approach to space, time and history in the context postmodernity.
纺织品
发表于 2025-3-22 16:08:58
Book 2020till useful to approach contemporary cinema. This question is explored through a discussion of the films written and directed by Quentin Tarantino, largely regarded as the epitome of postmodern cinema and considered here as theoretical contributions in their own right. Each chapter first presents k
纯朴
发表于 2025-3-22 17:28:20
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grounded
发表于 2025-3-22 22:25:58
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VALID
发表于 2025-3-23 05:22:30
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树木中
发表于 2025-3-23 08:58:26
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