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    Academic Journal

    المؤلفون: Manuel Garin

    المصدر: Communication & Society; Vol. 26 Núm. 2 (2013); 47-64 ; 2386-7876

    وصف الملف: application/pdf

    Relation: https://revistas.unav.edu/index.php/communication-and-society/article/view/36121/30540; ABRAMS, J. J., “Abram’s Mystery Box”, TED Conferences Video Lecture, 2008.; ABRAMS, J. J. (ed.), “The Mystery Issue”, Wired Magazine, 17, 05, 2009.; ALTMAN, Rick, Film Genre, British Film Institute, London, 1999.; ARROYO, José, “Mission: Sublime”, in ARROYO, José (ed.) Action/Spectacle Cinema, British Film Institute, London, 2000.; ASHTON, Dyrk, “Reflection of Deleuze: An Alias-ed Critique of Truth”, in Investigating Alias: Secrets and Spies, I. B. Tauris, London, 2007.; BACHELARD, Gaston, Water and Dreams: An Essay on the Imagination of Matter, Institute of Humanities & Culture, Dallas, 1999.; BALLÓ, Jordi and PÉREZ, Xavier, “El círculo infernal”, in CASCAJOSA, Concepción (ed.), La caja lista: televisión norteamericana de culto, Laertes, Barcelona, 2007.; BOOTH, Paul, “Memories, Temporalities, Fictions: Temporal Displacement in Contemporary Television”, in Television and New Media 12 (4), July 2011, p. 374.; BROST, Molly, “Spy Games: Alias, Sydney Bristow, and the Ever Complicated Gaze”, in Americana: The Journal of American Popular Culture, Spring 2007, vol. 6, Issue 1.; BROWN, Simon and STACEY, Abbot (ed.), Investigating Alias: Secrets and Spies, I. B. Tauris, London, 2007.; CARROLL, Noël, Interpreting the Moving Image, Cambridge University Press, New York, 1998.; CLARKE-STUART, Sarah. Into The Looking Glass. Exploring the Worlds of Fringe, ECW Press, Toronto, 2011.; COULTHARD, Lisa, “The Hotness of Cold Opens: Breaking Bad and the Serial Narrative as Puzzle”, FlowTV, vol. 13, Issue 3, University of Texas, Austin, 2010.; DE LAURETIS, Teresa, Alice doesn’t. Feminism, Semiotics, Cinema, The Indiana University Press, Bloomington, 1984.; DELEUZE, Gilles, Cinema 1, The Athlone Press, Cinema 1, 1986.; DOMÍNGUEZ, Vicente, “Miedo borrador. Cloverfield: monstruos de ciencia-ficción en la ciudad del alma”, Revista FORMATS, nº 5, Universitat Pompeu Fabra, 2009.; DURAND, Gilbert, Las estructuras antropológicas del imaginario, Fondo de Cultura Económica, Madrid, 2005. Original French version: Les structures anthropologiques de l’imaginaire. Dunod, Paris, 1993.; ELSAESSER, Thomas, “Specularity and Engulfement: Francis Ford Coppola and Bram Stoker’s Dracula”, in NEALE, Steve and SMITH, Murray (ed.), Contemporary Hollywood, Routledge, London, 1998.; ELSAESSER, Thomas, “The Mind-Game Film”, in BUCKLAND, Warren, (ed.), Puzzle Films: Complex Storytelling in Contemporary Cinema, Oxford, Blackwell Publishing, 2009.; FLANAGAN, Martin, “Get Ready For Rush Hour. The chronotope in action”, in TASKER, Ivonne (ed.), Action and Adventure Cinema, Routledge, London, 2004.; FREZZA, Gino, La macchina del mito tra film e fumetti, La Nuova Italia, Scandicci, 1995.; FRYE, Northrop, Anatomy of Criticism, Princeton University Press, New Jersey, 1957.; GATTÉGNO, Jean, La ciencia-ficción, Fondo de Cultura Económica, México, 1985. Original French version: La science-fiction, Presses Universitaires de France, Paris, 1983.; GIRARD, René, Deceit, Desire and The Novel. Self and Other in Literary Structure, The John Hopkins University Press, London, 1976.; HARRIGAN, Pat and WARDRIP-FRUIN, Noah (ed.), Third Person. Authoring and Exploring Vast Narratives. The MIT Press, Cambridge, 2009.; HAYWARD, Jennifer, Consuming Pleasures. Active Audiences and Serial Fictions from Dickens to Soap Opera, The University Press of Kentucky, Lexington, 1997.; HEGEL, G. W. F., Aesthetics: Lectures on Fine Art, Oxford University Press, Oxford, 1975.; HIMSEL-BURCON, Sarah, “Lost in Our Middle Hour. Faith, Fate and Redemption Post-9/11”, in AMES, Melissa, (ed.), Time in Television Narrative: Exploring Temporality in Twenty-First-Century Programmin, University Press of Mississippi, Jackson, 2012.; JENKINS, Henry, The Wow Climax. Tracing the Emotional Impact of Popular Culture, New York University Press, New York, 2007.; JUNG, C. G., Aion. Researches into the Phenomenology of The Self, Princeton University Press, New Jersey, 1978.; LACAN, Jacques, The Ethics of Psychoanalysis. 1959-1960, W. W. Norton & Company, New York, 1992.; NDALIANIS, Angela, Neo-Baroque Aesthetics in Contemporary Entertainment, The MIT Press, Cambridge, 2004.; NDALIANIS, Angela, “Television and the Neo-Baroque” in HAMMOND, Michael and MAZDON, Lucy (ed.), The Contemporary Television Series, Edinburgh University Press, Edinburgh, 2005.; RABKIN, Eric and SCHOLES, Robert, La ciencia-ficción. Historia, Ciencia, Perspectiva, Taurus, Madrid, 1982. English version: Science-Fiction: History, Science, Vision.; Oxford University Press, Oxford, 1977.; REINHARDT, Karl, Sófocles, Destino, Barcelona, 1991. English version: Sophocles, Barns & Noble, New York, 1979.; ROSSET, Clement, Lo real y su doble. Ensayo sobre la ilusión, Tusquets, Barcelona, 1993. English version: The Real and its Double, The University of Chicago Press, Chicago, 2012.; SANFORD, J. A., “Dr. Jekyll and Mr. Hyde”, in Meeting The Shadow. The Hidden Power of the Dark Side of Human Nature, Tarcher-Purtnam, New York, 1991.; TOMASOVIC, Dick, Le palimpseste noir. Notes sur l’impétigo, la terreur et le cinéma américain contemporain, Yellow Now, Liège, 2002.; TOUS, Anna, La era del drama en televisión. Perdidos, CSI: Las Vegas, El ala oeste de la Casa Blanca, Mujeres desesperadas y House, UOC Press, Barcelona, 2012.; https://revistas.unav.edu/index.php/communication-and-society/article/view/36121

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