Titlebook: Visual Synergies in Fiction and Documentary Film from Latin America; Miriam Haddu (Lecturer in Latin American Studies), Book 2009 Miriam H

Flexible

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书目名称Visual Synergies in Fiction and Documentary Film from Latin America影响因子(影响力)学科排名




书目名称Visual Synergies in Fiction and Documentary Film from Latin America网络公开度




书目名称Visual Synergies in Fiction and Documentary Film from Latin America网络公开度学科排名




书目名称Visual Synergies in Fiction and Documentary Film from Latin America被引频次




书目名称Visual Synergies in Fiction and Documentary Film from Latin America被引频次学科排名




书目名称Visual Synergies in Fiction and Documentary Film from Latin America年度引用




书目名称Visual Synergies in Fiction and Documentary Film from Latin America年度引用学科排名




书目名称Visual Synergies in Fiction and Documentary Film from Latin America读者反馈




书目名称Visual Synergies in Fiction and Documentary Film from Latin America读者反馈学科排名

AGGER

: Images of Violence and the Position of the Spectator in Contemporary Brazilian Cinemaerations are taken from the book ., which was written by sociologist Luiz Eduardo Soares and two former captains of the special force.. As the story unfolds, the film takes the point of view of captain Nascimento, revealing in explicit detail the cruelty with which this military body operates in hea

Pessary

Mockumentary as Post-nationalism: National Identity in , by Sergio Arau the region to a standstill and the consequences are explored in the mockumentary. Set within the context of a growing Chicano population in the United States and the high level of migration from Mexico across the border, the stated aim of . is to advance a social agenda, arguing the case for immigr

慌张

Filming Psychoanalysis: The Documentation of Paranoia and the “Paranoid Gaze” in Luis Buñuel’s the film from this negative commercial and critical reception, ., one of France’s most prestigious film magazines, dedicated a special dossier to Buñuel’s films from his Mexican period in 1954. In an auteurist fashion, some critics, such as Claude Baylie, reinterpreted . as one of Buñuel’s masterpi

recede

Digital Mimicry and Visual Tropes: Some Images from Argentina adapting his theorizations to embrace film, a medium to which Ricoeur rarely refers in his work. This development is a natural one, given cinema’s emergence at the turn of the century—to borrow Mary Ann Doane’s description—as “a privileged machine for the representation of temporality,” as a result

Deference

chandel

maudtin

摇曳的微光

盖他为秘密