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A flor, o fim do mundo: sensual media, lost futures and the end of cinema in Kleber Mendonça Filho’s Aquarius 在克莱伯·门东帕拉·菲尔霍的《水瓶座》中，感官媒体、迷失的未来和电影的终结
IF 0.3 3区 艺术学
SCREEN Pub Date : 2023-03-01 DOI: 10.1093/screen/hjad001
David Conlon
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引用次数: 0
Fritz Lang’s cinema of interruption and the narrative of modernity 郎的中断电影与现代性叙事
IF 0.3 3区 艺术学
SCREEN Pub Date : 2023-03-01 DOI: 10.1093/screen/hjad013
Frances Guerin
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引用次数: 0
Amy Holdsworth, On Living with Television 艾米·霍尔兹沃斯，《与电视共存
IF 0.3 3区 艺术学
SCREEN Pub Date : 2023-03-01 DOI: 10.1093/screen/hjad008
T. Jensen
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引用次数: 0
Projecting Maoist China: the PRC’s transnational film distribution, 1949 to 1966 预测中国毛派:中国的跨国电影发行,1949年到1966年
IF 0.3 3区 艺术学
SCREEN Pub Date : 2023-03-01 DOI: 10.1093/screen/hjad004
Y. Du
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引用次数: 0
‘The Great Unknown’: Thea von Harbou’s script for Dr Mabuse, der Spieler 巨大的邪恶
IF 0.3 3区 艺术学
SCREEN Pub Date : 2023-03-01 DOI: 10.1093/screen/hjad010
Iris Luppa
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引用次数: 0
Games archcriminals play: Mabuse vs Fantômas 主要罪犯玩的游戏：m虐待和fantomas
IF 0.3 3区 艺术学
SCREEN Pub Date : 2023-03-01 DOI: 10.1093/screen/hjad012
Thomas M. Leitch
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引用次数: 0
David Martin-Jones, Columbo: Paying Attention 24/7 大卫·马丁-琼斯《科伦坡:全天候关注
IF 0.3 3区 艺术学
SCREEN Pub Date : 2023-03-01 DOI: 10.1093/screen/hjad009
S. Turnbull
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引用次数: 0
Resisting modernist primitivism: Dr Mabuse’s exclusionary aesthetics 抵制现代主义原始主义：马布斯博士的排斥美学
IF 0.3 3区 艺术学
SCREEN Pub Date : 2023-03-01 DOI: 10.1093/screen/hjad011
Maxfield Fulton
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引用次数: 0
More than law and order: film regulations and the control of Chinese theatres in colonial Hong Kong 不仅仅是法律和秩序:电影法规和对殖民地香港华人剧院的控制
IF 0.3 3区 艺术学
SCREEN Pub Date : 2023-03-01 DOI: 10.1093/screen/hjad002
E. Yeh
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引用次数: 1
Caetlin Benson-Allott, The Stuff of Spectatorship: Material Cultures of Film and Television 凯特琳·本森-阿洛特:《观众的材料:电影和电视的物质文化》
IF 0.3 3区 艺术学
SCREEN Pub Date : 2023-03-01 DOI: 10.1093/screen/hjad007
L. Srinivas
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引用次数: 0
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