Titlebook: Gendering Science Fiction Films; Invaders from the Su Susan A. George Book 2013 Susan A. George 2013 gender.ideology.Print.women

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书目名称Gendering Science Fiction Films影响因子(影响力)




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书目名称Gendering Science Fiction Films被引频次




书目名称Gendering Science Fiction Films被引频次学科排名




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书目名称Gendering Science Fiction Films年度引用学科排名




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书目名称Gendering Science Fiction Films读者反馈学科排名

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https://doi.org/10.1007/978-3-662-22415-1which she appears. She emerges, not surprisingly, during times of political, social and/or economic turmoil. Strong, sexual, and at times all too single-minded, the vamp has delighted and tempted audiences while at the same time served as mass-mediated cautionary tales for men and women alike.

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Reactor Design for Thermal CVD,r construction and family structure—the melodrama—working outside the home became tantamount to prostitution for the female characters” (Byars 77). Working women or single women, as Byars notes, “came to embody the threat of female emancipation. The Woman Alone became suspect” (77). By the 1950s, th

针叶树

Step-by-Step Guide to Depositing Parylene,ve films than as window dressings, objects of desire, or damsels in distress. They are intelligent . have characteristics of the mystique model, but they are far more complex and multidimensional characters—truly a “new breed” of science fiction woman (to borrow Dr. Carter’s terminology in .). Addit

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尖牙

Saturday Matinee Cautionary Tales: Science Fiction Vamps and Promethean Scientists,which she appears. She emerges, not surprisingly, during times of political, social and/or economic turmoil. Strong, sexual, and at times all too single-minded, the vamp has delighted and tempted audiences while at the same time served as mass-mediated cautionary tales for men and women alike.

尖牙

,“I’m not the Monster Here!”: Science Fiction Working Women after Rosie’s Retirement and the Men Ther construction and family structure—the melodrama—working outside the home became tantamount to prostitution for the female characters” (Byars 77). Working women or single women, as Byars notes, “came to embody the threat of female emancipation. The Woman Alone became suspect” (77). By the 1950s, th

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Introduction: Gendering Science Fiction Invasion Films,eneath this placid surface” (ix). He further notes that “few Americans doubted the essential goodness of their society. After all it was reflected back at them not only in contemporary books and magazines, but even more powerfully and with even greater influence in the new family sitcoms on televisi

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