標(biāo)題: Titlebook: Black Masculinity on Film; Native Sons and Whit Daniel O‘Brien Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 cinematic bla [打印本頁] 作者: 輕佻 時(shí)間: 2025-3-21 17:56
書目名稱Black Masculinity on Film影響因子(影響力)
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書目名稱Black Masculinity on Film網(wǎng)絡(luò)公開度學(xué)科排名
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書目名稱Black Masculinity on Film被引頻次學(xué)科排名
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書目名稱Black Masculinity on Film讀者反饋
書目名稱Black Masculinity on Film讀者反饋學(xué)科排名
作者: 惹人反感 時(shí)間: 2025-3-21 23:14 作者: defuse 時(shí)間: 2025-3-22 00:27
of black masculinity which challenge racial stereotypes, exhThis book provides wide-ranging commentary on depictions of the black male in mainstream cinema. O’Brien explores the extent to which counter-representations of black masculinity have been achieved within a predominately white industry, wit作者: micronutrients 時(shí)間: 2025-3-22 04:51
Verschuldens- und Gef?hrdungshaftungs’ sufficiently trained and domesticated to serve as the hero’s loyal followers. At the same time, the black roles in these sub-genres refract debates on concepts of civilisation, honour, superstition, justice and political manoeuvring within a wider context of white colonialism versus native self-determination.作者: 舊石器時(shí)代 時(shí)間: 2025-3-22 10:31
Book 2017hese areas invoke popular genre types, they display complexity, diversity and ambiguity, exhibiting aspects that are positive, progressive and subversive. This book will appeal to both the academic and the general reader interested in film, race, gender and colonial issues.作者: 鴿子 時(shí)間: 2025-3-22 16:07
Zurechnung des Schadens, Kausalit?tiberate racialised erasure carried over to the screen. Low-budget Westerns for black audiences were produced independently yet African Americans remained peripheral and often invisible in mainstream Westerns until the 1960s.作者: 尾巴 時(shí)間: 2025-3-22 17:48
Vertrauensschutz und Allokationseffizienz,o match those of the highest-paid white stars. Given his earlier success in music and television, Smith’s film career, which took off in the mid-1990s, can be characterised as a form of media diversification that both plays on and, for some, plays safe with his established star image (cf. Palmer in The Velvet Light Trap 67:28–40, .: 28).作者: vanquish 時(shí)間: 2025-3-22 23:24 作者: circuit 時(shí)間: 2025-3-23 04:50 作者: 玩忽職守 時(shí)間: 2025-3-23 09:20
Verschuldens- und Gef?hrdungshaftungew sources of film employment open to black actors in Hollywood and Britain (cf. Regester in Film History 9:95–115, .: 104). With narratives frequently centred on a white saviour figure, these films commonly mark black male characters as either primitive natives (noble or savage) or Westernised ‘boy作者: cruise 時(shí)間: 2025-3-23 11:56
Zurechnung des Schadens, Kausalit?tiberate racialised erasure carried over to the screen. Low-budget Westerns for black audiences were produced independently yet African Americans remained peripheral and often invisible in mainstream Westerns until the 1960s.作者: 恃強(qiáng)凌弱 時(shí)間: 2025-3-23 17:35
Vertrauensschutz und Allokationseffizienz,o match those of the highest-paid white stars. Given his earlier success in music and television, Smith’s film career, which took off in the mid-1990s, can be characterised as a form of media diversification that both plays on and, for some, plays safe with his established star image (cf. Palmer in 作者: 寄生蟲 時(shí)間: 2025-3-23 20:40
https://doi.org/10.1057/978-1-137-59323-8cinematic black masculinity; colonialism; gender; race; African cinema; European cinema; African-American 作者: acetylcholine 時(shí)間: 2025-3-24 01:53 作者: 走路左晃右晃 時(shí)間: 2025-3-24 02:22
Daniel O‘BrienOffers wide-ranging commentary on depictions of the black male in mainstream cinema, American and European.Explores counter-representations of black masculinity which challenge racial stereotypes, exh作者: 急急忙忙 時(shí)間: 2025-3-24 07:07
http://image.papertrans.cn/b/image/188961.jpg作者: LAVA 時(shí)間: 2025-3-24 14:26 作者: 手榴彈 時(shí)間: 2025-3-24 15:35 作者: hemoglobin 時(shí)間: 2025-3-24 19:44 作者: 斑駁 時(shí)間: 2025-3-25 02:07 作者: 松雞 時(shí)間: 2025-3-25 03:19 作者: Patrimony 時(shí)間: 2025-3-25 10:15 作者: Tidious 時(shí)間: 2025-3-25 13:51 作者: magenta 時(shí)間: 2025-3-25 16:53 作者: EPT 時(shí)間: 2025-3-25 23:20 作者: ORE 時(shí)間: 2025-3-26 02:03
,-,: John Kitzmiller, Woody Strode and Remoulding Stereotypes in Italian Popular Cinema,This chapter discusses the consecutive Rome-based careers of expatriate black actors John Kitzmiller, a former US Army captain, and Woody Strode, an ex-football player who progressed from bit parts to supporting roles in Hollywood.作者: Ruptured-Disk 時(shí)間: 2025-3-26 05:45 作者: 違法事實(shí) 時(shí)間: 2025-3-26 10:32 作者: scoliosis 時(shí)間: 2025-3-26 13:01 作者: Harridan 時(shí)間: 2025-3-26 19:54
The Natives Are Still Restless: Black Representation in Whitened Africa from Tarzan to Mandela,ew sources of film employment open to black actors in Hollywood and Britain (cf. Regester in Film History 9:95–115, .: 104). With narratives frequently centred on a white saviour figure, these films commonly mark black male characters as either primitive natives (noble or savage) or Westernised ‘boy作者: Femish 時(shí)間: 2025-3-26 23:52 作者: CRUDE 時(shí)間: 2025-3-27 02:44
Saving the World for White Folks? Will Smith Racialises Science Fiction as Black Man and Man in Blao match those of the highest-paid white stars. Given his earlier success in music and television, Smith’s film career, which took off in the mid-1990s, can be characterised as a form of media diversification that both plays on and, for some, plays safe with his established star image (cf. Palmer in 作者: flex336 時(shí)間: 2025-3-27 07:25
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