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Titlebook: Cross Generational Relationships and Cinema; Joel Gwynne,Niall Richardson Book 2020 The Editor(s) (if applicable) and The Author(s), under

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发表于 2025-3-21 19:21:09 | 显示全部楼层 |阅读模式
书目名称Cross Generational Relationships and Cinema
编辑Joel Gwynne,Niall Richardson
视频video
概述Addresses the changing values and attitudes of cross generational relationships, which can be broadly defined to include sexual, romantic, and unrequited love.Focuses on the often divisive relationshi
图书封面Titlebook: Cross Generational Relationships and Cinema;  Joel Gwynne,Niall Richardson Book 2020 The Editor(s) (if applicable) and The Author(s), under
描述.Depictions of cross generational relationships have always been present in popular cinema. While such relationships have historically operated within the framework of heteronormativity, and have usually explored cross generational romance in the context of older men/younger women, contemporary depictions have expanded to focus also on taboo configurations of love between older women and younger men and cross generational LGBT coupledom. Contemporary depictions have sought to complicate not only heteronormativity in cross generational relationships, but also to navigate the differences between socially acceptable love and transgressive desire. This collection focuses on the changing values and attitudes of cross generational relationships and addresses the often divisive relationship between the discourses of youth and ageing in popular culture. . . .
出版日期Book 2020
关键词Cross Generational Relationships; Cinema; Age; Gender; Sexuality
版次1
doihttps://doi.org/10.1007/978-3-030-40064-4
isbn_softcover978-3-030-40066-8
isbn_ebook978-3-030-40064-4
copyrightThe Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl
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Internationales Risikomanagement, the novice filmmaker symbolically took up the directorial baton from her mother: Nancy Meyers, a Producer on the film, and one of the foremost women filmmakers of all time. This chapter examines how . self-consciously alludes to this distinctive filmic pedigree, fostering a sense of cinematic indeb
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,Betrachtung der Veränderungsprozesse, men often through monetary exchange or other forms of coercion. The second is the stereotype of the asexual ‘old queen’—a body whose ageing effeminacy removes him from the matrix of sexual eroticism. The two films analysed in this chapter attempt to challenge these stereotypes and revise the receiv
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