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Inside Intermarriage: A Christian Partner's Perspective on Raising a Jewish Family

af James Keen

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342709,296 (3.83)Ingen
Postmodernist films, in the social context of post-cold war China in the 1990s, corresponded with Deleuze s micro-politics of aesthetics to the culture of disintegration in these independent cinemas. The deformation of grant narrative has long been thought to play a major role in creating social change in China, in large part because the discourse in everyday life gives individuals opportunities to better understand the problems facing their transformaing society. In this research, drawing on Lou Ye, Wang Chao, Zhang Ming s independent films, which make them well known among the six-generation film makers and the international film festivals, I examine the relationship between politics of time- image in Six-Generation Chinese films and aesthetics of postmodernism in contemporary China. With the analysis of mise-en-scene, I ask two key research questions: How does postmodern culture shape the time-image in Sixth Generation Chinese films and their cinematic memory of social- transformation? What are the claims of social and aesthetic post-modernism in the discourse of Sixth Generation Chinese films?… (mere)
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What kind of author would I be if I didn't at least list my own book? ( )
1 stem jckeen | Jan 10, 2010 |
A candid look at one father's choice to raise his daughters in Judasim, while he continues to be a practicing Protestant. The book is very conversational, and can be frustrating in its tone at times, but overall the lessons of his struggles and happiness are welcome and beneficial to anyone in an interfaith relationship. ( )
  bookstar | Nov 6, 2007 |
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Postmodernist films, in the social context of post-cold war China in the 1990s, corresponded with Deleuze s micro-politics of aesthetics to the culture of disintegration in these independent cinemas. The deformation of grant narrative has long been thought to play a major role in creating social change in China, in large part because the discourse in everyday life gives individuals opportunities to better understand the problems facing their transformaing society. In this research, drawing on Lou Ye, Wang Chao, Zhang Ming s independent films, which make them well known among the six-generation film makers and the international film festivals, I examine the relationship between politics of time- image in Six-Generation Chinese films and aesthetics of postmodernism in contemporary China. With the analysis of mise-en-scene, I ask two key research questions: How does postmodern culture shape the time-image in Sixth Generation Chinese films and their cinematic memory of social- transformation? What are the claims of social and aesthetic post-modernism in the discourse of Sixth Generation Chinese films?

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James Keen er LibraryThing-forfatter, en forfatter som har sit personlige bibliotek opført på LibraryThing.

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