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影像的国族特性与左派立场——《巴黎危机》的文化唯物性述评
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作者 刘亚斌 《视听》 2018年第11期92-93,共2页
西方左派曾代表底层阶级,反对单放型媒介传播,现在则认同全球化和技术效应,已然转向自由右翼的立场。当代西方右翼却因固守国族和文化自治的立场,倾向保守主义而广受欢迎。影片《巴黎危机》在国族特性相互交织的空间里蕴藏着当代政治文... 西方左派曾代表底层阶级,反对单放型媒介传播,现在则认同全球化和技术效应,已然转向自由右翼的立场。当代西方右翼却因固守国族和文化自治的立场,倾向保守主义而广受欢迎。影片《巴黎危机》在国族特性相互交织的空间里蕴藏着当代政治文化景观,体现出电影制作、演员阵容、情节设置和呈现方式等方面的全球化特性。 展开更多
关键词 《巴黎危机》 民族特性 左派立场 文化唯物性
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Dream boy: Discuss Kes and Billy Elliot in relation to Raymond Williams's Categories of Culture
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作者 HE Xin-yu 《Journal of Literature and Art Studies》 2017年第11期1450-1456,共7页
By contrasting the two British films, KesI and Billy Elliot2, which in different historical periods, the paper is a comparative cultural study to films. Aside from the similarities, the differences between the two fil... By contrasting the two British films, KesI and Billy Elliot2, which in different historical periods, the paper is a comparative cultural study to films. Aside from the similarities, the differences between the two films precisely show the cultural and social differences in reality. In Raymond Williams' s theory of cultural materialism, culture can be divided into three categories--the dominant, residual and emergent. In relation to this, the 'cultural hybridity' can be shown clearly among the problems (eg. gender, class, sexuality, etc) that the two films involve. Then, I suggest that the relationships between Kes and the 'emergent culture' is an important cultural aspect which Kes exceeds to Billy Elliot. 展开更多
关键词 Categories of Culture Social Space Gender Class
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