Inelasticity
发表于 2025-3-25 03:39:56
http://reply.papertrans.cn/99/9837/983650/983650_21.png
Gleason-score
发表于 2025-3-25 08:14:54
Mutilating and Mutilated Bodies: Women’s Takes on “Extreme” French Cinemalmmakers (Tarr with Rollet 2001, Audé 2002). However, since the 1990s, few of these filmmakers have explicitly claimed to make films from a feminist perspective or opted for an alternative feminist counter-cinema, feminist discourses having been effectively marginalized in a postfeminist France.. Ra
淡紫色花
发表于 2025-3-25 12:53:59
http://reply.papertrans.cn/99/9837/983650/983650_23.png
储备
发表于 2025-3-25 17:37:11
http://reply.papertrans.cn/99/9837/983650/983650_24.png
动脉
发表于 2025-3-25 20:43:14
Maria, Irene and Olga “à la recherche du temps perdu …”1980s to portrayals of identity issues, gender roles, private stories, relationships, and feelings. Filmmaker Elissavet Chronopoulou explains this change of direction by stating, “we are trying to allow emotion to pass into our films. The manner in which you use it is a matter of personal taste. But
compel
发表于 2025-3-26 03:36:58
http://reply.papertrans.cn/99/9837/983650/983650_26.png
overbearing
发表于 2025-3-26 04:52:57
http://reply.papertrans.cn/99/9837/983650/983650_27.png
Substance-Abuse
发表于 2025-3-26 09:53:16
Book 2010in the Mediterranean rim, this book spurs a contemporary discussion of women s human, civil, and social rights while situating feminist arguments on women s identity, roles, psychology and sexuality. Although their methodologies are diverse, these artists are united in their use of cinema as a means
Aerate
发表于 2025-3-26 15:06:17
Book 2010 of intervention, taking on the role as outspoken and leading advocates for women s problems. Contributors examine the ways in which cinematic art reproduces and structures the discourses of realism and represents Mediterranean women s collective experience of struggle.
表脸
发表于 2025-3-26 19:54:00
http://reply.papertrans.cn/99/9837/983650/983650_30.png