cocoon
发表于 2025-3-25 05:18:58
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Incorporate
发表于 2025-3-25 07:29:47
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Mercantile
发表于 2025-3-25 14:32:10
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多产子
发表于 2025-3-25 16:11:59
Inner-City Chivalry in Gil Junger’s ,: A South Central Yankee in King Leo’s Courtmula.. Though universally panned by critics, Gil Junger’s 2001 comedy offers an intriguing postcolonial fantasy that draws upon and transforms the very real oppression of urban modernity in inner-city communities like South Central LA by transporting the ghetto to the Eurocentric Middle Ages. At fir
CAND
发表于 2025-3-25 20:58:40
Queering the Medieval Dead: History, Horror, and Masculinity in Sam Raimi’s , Trilogyt Ash (Bruce Campbell) fights his possessed friends in a desperate bid for survival, to the battlefields of Arthurian England in 1300, where the conflict takes on an epic scope.. Time traveling back through history functions as an antidote to the modern-day emasculation of Ash, who is feminized in h
acrobat
发表于 2025-3-26 03:43:22
In Praise of Troubadourism: Creating Community in Occupied France, 1942–43scribe the appropriation of the medieval past to create a sentimental present.. While for Thomas troubadourism held dangerous implications of filmic collaboration with Hitler’s Germany, her argument that the Middle Ages is easily misused as a far-removed, imaginary space in which to address contempo
covert
发表于 2025-3-26 07:12:29
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培养
发表于 2025-3-26 10:48:21
The Hawk, the Wolf, and the Mouse: Tracing the Gendered other in Richard Donner’s d on “a thirteenth century European legend,” like many medieval truth-claims, this one turns out to be the product of invention, one of the few genuinely medieval qualities the work displays. Edward Khmara, the film’s scriptwriter, dispels this myth, suggesting instead that the story came to him whi
vanquish
发表于 2025-3-26 13:55:50
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牛的细微差别
发表于 2025-3-26 19:33:41
The “other” Women of Sherwood: The Construction of Difference and Gender in Cinematic Treatments of ddle Ages. Because their original medieval and Tudor literary sources are obscure, plot points and characters in Robin Hood films are familiar-but-fluid, resulting in a body of self-referentially “reel” versions of the greenwood legend that reflect major social developments of the past century as mu