Camera Arriving at the Station: Cinematic Memory as Cultural Memory
This paper explores the modern metropolis as an ironically concrete metaphor for the collective memory and the mourning of cinema’s passing, as it—the “city”—is digitally constructed in two recent, auteur-directed, special effects-driven blockbuster films, Inception and Hugo. The modern city, and ma...
Ausführliche Beschreibung
Autor*in: |
Russell J. A. Kilbourn [verfasserIn] |
---|
Format: |
E-Artikel |
---|---|
Sprache: |
Englisch |
Erschienen: |
2013 |
---|
Schlagwörter: |
---|
Übergeordnetes Werk: |
In: Societies - MDPI AG, 2012, 3(2013), 3, Seite 316-331 |
---|---|
Übergeordnetes Werk: |
volume:3 ; year:2013 ; number:3 ; pages:316-331 |
Links: |
---|
DOI / URN: |
10.3390/soc3030316 |
---|
Katalog-ID: |
DOAJ060943440 |
---|
LEADER | 01000caa a22002652 4500 | ||
---|---|---|---|
001 | DOAJ060943440 | ||
003 | DE-627 | ||
005 | 20230309005020.0 | ||
007 | cr uuu---uuuuu | ||
008 | 230228s2013 xx |||||o 00| ||eng c | ||
024 | 7 | |a 10.3390/soc3030316 |2 doi | |
035 | |a (DE-627)DOAJ060943440 | ||
035 | |a (DE-599)DOAJ0da5e27ec8e842daad33e77eb93d4cb2 | ||
040 | |a DE-627 |b ger |c DE-627 |e rakwb | ||
041 | |a eng | ||
050 | 0 | |a H1-99 | |
100 | 0 | |a Russell J. A. Kilbourn |e verfasserin |4 aut | |
245 | 1 | 0 | |a Camera Arriving at the Station: Cinematic Memory as Cultural Memory |
264 | 1 | |c 2013 | |
336 | |a Text |b txt |2 rdacontent | ||
337 | |a Computermedien |b c |2 rdamedia | ||
338 | |a Online-Ressource |b cr |2 rdacarrier | ||
520 | |a This paper explores the modern metropolis as an ironically concrete metaphor for the collective memory and the mourning of cinema’s passing, as it—the “city”—is digitally constructed in two recent, auteur-directed, special effects-driven blockbuster films, Inception and Hugo. The modern city, and mass media, such as the cinema, as well as modes of mass transport, especially the train, all originate in the 19th century, but come into their own in the early 20th century in their address to a subject as the mobilised citizen-consumer who, as Anne Friedberg makes clear, is also always a viewer. Additionally, as Barbara Mennel has recently shown, the advent in Europe of trains and time zones, in their transformation of modern time and space, paved the way for cinema’s comparably cataclysmic impact upon modern subjectivity in its iconic reproduction of movement within illusory 3D space. Both films, thus, in their different ways employ cinematic remediation as a form of cultural memory whose nostalgia for cinema’s past is rendered with the latest digital effects, hidden in plain sight in the form of subjective memories (as flashback) and dreams. While a version of this reading has been advanced before (at least for Hugo), this paper goes further by connecting each film’s status as remediated dream-memory to its respective dependence upon the city as a post-cinematic three-dimensional framework within which locative and locomotive desires alike determine a subject whose psyche is indistinguishable from the cityscape that surrounds him. | ||
650 | 4 | |a city film | |
650 | 4 | |a subjectivity | |
650 | 4 | |a cultural memory | |
650 | 4 | |a remediation | |
650 | 4 | |a digital cinema | |
653 | 0 | |a Social sciences (General) | |
773 | 0 | 8 | |i In |t Societies |d MDPI AG, 2012 |g 3(2013), 3, Seite 316-331 |w (DE-627)718627202 |w (DE-600)2662256-7 |x 20754698 |7 nnns |
773 | 1 | 8 | |g volume:3 |g year:2013 |g number:3 |g pages:316-331 |
856 | 4 | 0 | |u https://doi.org/10.3390/soc3030316 |z kostenfrei |
856 | 4 | 0 | |u https://doaj.org/article/0da5e27ec8e842daad33e77eb93d4cb2 |z kostenfrei |
856 | 4 | 0 | |u http://www.mdpi.com/2075-4698/3/3/316 |z kostenfrei |
856 | 4 | 2 | |u https://doaj.org/toc/2075-4698 |y Journal toc |z kostenfrei |
912 | |a GBV_USEFLAG_A | ||
912 | |a SYSFLAG_A | ||
912 | |a GBV_DOAJ | ||
912 | |a GBV_ILN_11 | ||
912 | |a GBV_ILN_20 | ||
912 | |a GBV_ILN_22 | ||
912 | |a GBV_ILN_23 | ||
912 | |a GBV_ILN_24 | ||
912 | |a GBV_ILN_39 | ||
912 | |a GBV_ILN_40 | ||
912 | |a GBV_ILN_60 | ||
912 | |a GBV_ILN_62 | ||
912 | |a GBV_ILN_63 | ||
912 | |a GBV_ILN_65 | ||
912 | |a GBV_ILN_69 | ||
912 | |a GBV_ILN_70 | ||
912 | |a GBV_ILN_73 | ||
912 | |a GBV_ILN_95 | ||
912 | |a GBV_ILN_110 | ||
912 | |a GBV_ILN_151 | ||
912 | |a GBV_ILN_161 | ||
912 | |a GBV_ILN_206 | ||
912 | |a GBV_ILN_213 | ||
912 | |a GBV_ILN_230 | ||
912 | |a GBV_ILN_285 | ||
912 | |a GBV_ILN_293 | ||
912 | |a GBV_ILN_370 | ||
912 | |a GBV_ILN_602 | ||
912 | |a GBV_ILN_2014 | ||
912 | |a GBV_ILN_2086 | ||
912 | |a GBV_ILN_4012 | ||
912 | |a GBV_ILN_4037 | ||
912 | |a GBV_ILN_4112 | ||
912 | |a GBV_ILN_4125 | ||
912 | |a GBV_ILN_4126 | ||
912 | |a GBV_ILN_4249 | ||
912 | |a GBV_ILN_4305 | ||
912 | |a GBV_ILN_4306 | ||
912 | |a GBV_ILN_4307 | ||
912 | |a GBV_ILN_4313 | ||
912 | |a GBV_ILN_4322 | ||
912 | |a GBV_ILN_4323 | ||
912 | |a GBV_ILN_4324 | ||
912 | |a GBV_ILN_4325 | ||
912 | |a GBV_ILN_4326 | ||
912 | |a GBV_ILN_4335 | ||
912 | |a GBV_ILN_4338 | ||
912 | |a GBV_ILN_4367 | ||
912 | |a GBV_ILN_4700 | ||
951 | |a AR | ||
952 | |d 3 |j 2013 |e 3 |h 316-331 |
author_variant |
r j a k rjak |
---|---|
matchkey_str |
article:20754698:2013----::aeariigthsainieaimmra |
hierarchy_sort_str |
2013 |
callnumber-subject-code |
H |
publishDate |
2013 |
allfields |
10.3390/soc3030316 doi (DE-627)DOAJ060943440 (DE-599)DOAJ0da5e27ec8e842daad33e77eb93d4cb2 DE-627 ger DE-627 rakwb eng H1-99 Russell J. A. Kilbourn verfasserin aut Camera Arriving at the Station: Cinematic Memory as Cultural Memory 2013 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier This paper explores the modern metropolis as an ironically concrete metaphor for the collective memory and the mourning of cinema’s passing, as it—the “city”—is digitally constructed in two recent, auteur-directed, special effects-driven blockbuster films, Inception and Hugo. The modern city, and mass media, such as the cinema, as well as modes of mass transport, especially the train, all originate in the 19th century, but come into their own in the early 20th century in their address to a subject as the mobilised citizen-consumer who, as Anne Friedberg makes clear, is also always a viewer. Additionally, as Barbara Mennel has recently shown, the advent in Europe of trains and time zones, in their transformation of modern time and space, paved the way for cinema’s comparably cataclysmic impact upon modern subjectivity in its iconic reproduction of movement within illusory 3D space. Both films, thus, in their different ways employ cinematic remediation as a form of cultural memory whose nostalgia for cinema’s past is rendered with the latest digital effects, hidden in plain sight in the form of subjective memories (as flashback) and dreams. While a version of this reading has been advanced before (at least for Hugo), this paper goes further by connecting each film’s status as remediated dream-memory to its respective dependence upon the city as a post-cinematic three-dimensional framework within which locative and locomotive desires alike determine a subject whose psyche is indistinguishable from the cityscape that surrounds him. city film subjectivity cultural memory remediation digital cinema Social sciences (General) In Societies MDPI AG, 2012 3(2013), 3, Seite 316-331 (DE-627)718627202 (DE-600)2662256-7 20754698 nnns volume:3 year:2013 number:3 pages:316-331 https://doi.org/10.3390/soc3030316 kostenfrei https://doaj.org/article/0da5e27ec8e842daad33e77eb93d4cb2 kostenfrei http://www.mdpi.com/2075-4698/3/3/316 kostenfrei https://doaj.org/toc/2075-4698 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_370 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2086 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700 AR 3 2013 3 316-331 |
spelling |
10.3390/soc3030316 doi (DE-627)DOAJ060943440 (DE-599)DOAJ0da5e27ec8e842daad33e77eb93d4cb2 DE-627 ger DE-627 rakwb eng H1-99 Russell J. A. Kilbourn verfasserin aut Camera Arriving at the Station: Cinematic Memory as Cultural Memory 2013 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier This paper explores the modern metropolis as an ironically concrete metaphor for the collective memory and the mourning of cinema’s passing, as it—the “city”—is digitally constructed in two recent, auteur-directed, special effects-driven blockbuster films, Inception and Hugo. The modern city, and mass media, such as the cinema, as well as modes of mass transport, especially the train, all originate in the 19th century, but come into their own in the early 20th century in their address to a subject as the mobilised citizen-consumer who, as Anne Friedberg makes clear, is also always a viewer. Additionally, as Barbara Mennel has recently shown, the advent in Europe of trains and time zones, in their transformation of modern time and space, paved the way for cinema’s comparably cataclysmic impact upon modern subjectivity in its iconic reproduction of movement within illusory 3D space. Both films, thus, in their different ways employ cinematic remediation as a form of cultural memory whose nostalgia for cinema’s past is rendered with the latest digital effects, hidden in plain sight in the form of subjective memories (as flashback) and dreams. While a version of this reading has been advanced before (at least for Hugo), this paper goes further by connecting each film’s status as remediated dream-memory to its respective dependence upon the city as a post-cinematic three-dimensional framework within which locative and locomotive desires alike determine a subject whose psyche is indistinguishable from the cityscape that surrounds him. city film subjectivity cultural memory remediation digital cinema Social sciences (General) In Societies MDPI AG, 2012 3(2013), 3, Seite 316-331 (DE-627)718627202 (DE-600)2662256-7 20754698 nnns volume:3 year:2013 number:3 pages:316-331 https://doi.org/10.3390/soc3030316 kostenfrei https://doaj.org/article/0da5e27ec8e842daad33e77eb93d4cb2 kostenfrei http://www.mdpi.com/2075-4698/3/3/316 kostenfrei https://doaj.org/toc/2075-4698 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_370 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2086 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700 AR 3 2013 3 316-331 |
allfields_unstemmed |
10.3390/soc3030316 doi (DE-627)DOAJ060943440 (DE-599)DOAJ0da5e27ec8e842daad33e77eb93d4cb2 DE-627 ger DE-627 rakwb eng H1-99 Russell J. A. Kilbourn verfasserin aut Camera Arriving at the Station: Cinematic Memory as Cultural Memory 2013 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier This paper explores the modern metropolis as an ironically concrete metaphor for the collective memory and the mourning of cinema’s passing, as it—the “city”—is digitally constructed in two recent, auteur-directed, special effects-driven blockbuster films, Inception and Hugo. The modern city, and mass media, such as the cinema, as well as modes of mass transport, especially the train, all originate in the 19th century, but come into their own in the early 20th century in their address to a subject as the mobilised citizen-consumer who, as Anne Friedberg makes clear, is also always a viewer. Additionally, as Barbara Mennel has recently shown, the advent in Europe of trains and time zones, in their transformation of modern time and space, paved the way for cinema’s comparably cataclysmic impact upon modern subjectivity in its iconic reproduction of movement within illusory 3D space. Both films, thus, in their different ways employ cinematic remediation as a form of cultural memory whose nostalgia for cinema’s past is rendered with the latest digital effects, hidden in plain sight in the form of subjective memories (as flashback) and dreams. While a version of this reading has been advanced before (at least for Hugo), this paper goes further by connecting each film’s status as remediated dream-memory to its respective dependence upon the city as a post-cinematic three-dimensional framework within which locative and locomotive desires alike determine a subject whose psyche is indistinguishable from the cityscape that surrounds him. city film subjectivity cultural memory remediation digital cinema Social sciences (General) In Societies MDPI AG, 2012 3(2013), 3, Seite 316-331 (DE-627)718627202 (DE-600)2662256-7 20754698 nnns volume:3 year:2013 number:3 pages:316-331 https://doi.org/10.3390/soc3030316 kostenfrei https://doaj.org/article/0da5e27ec8e842daad33e77eb93d4cb2 kostenfrei http://www.mdpi.com/2075-4698/3/3/316 kostenfrei https://doaj.org/toc/2075-4698 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_370 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2086 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700 AR 3 2013 3 316-331 |
allfieldsGer |
10.3390/soc3030316 doi (DE-627)DOAJ060943440 (DE-599)DOAJ0da5e27ec8e842daad33e77eb93d4cb2 DE-627 ger DE-627 rakwb eng H1-99 Russell J. A. Kilbourn verfasserin aut Camera Arriving at the Station: Cinematic Memory as Cultural Memory 2013 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier This paper explores the modern metropolis as an ironically concrete metaphor for the collective memory and the mourning of cinema’s passing, as it—the “city”—is digitally constructed in two recent, auteur-directed, special effects-driven blockbuster films, Inception and Hugo. The modern city, and mass media, such as the cinema, as well as modes of mass transport, especially the train, all originate in the 19th century, but come into their own in the early 20th century in their address to a subject as the mobilised citizen-consumer who, as Anne Friedberg makes clear, is also always a viewer. Additionally, as Barbara Mennel has recently shown, the advent in Europe of trains and time zones, in their transformation of modern time and space, paved the way for cinema’s comparably cataclysmic impact upon modern subjectivity in its iconic reproduction of movement within illusory 3D space. Both films, thus, in their different ways employ cinematic remediation as a form of cultural memory whose nostalgia for cinema’s past is rendered with the latest digital effects, hidden in plain sight in the form of subjective memories (as flashback) and dreams. While a version of this reading has been advanced before (at least for Hugo), this paper goes further by connecting each film’s status as remediated dream-memory to its respective dependence upon the city as a post-cinematic three-dimensional framework within which locative and locomotive desires alike determine a subject whose psyche is indistinguishable from the cityscape that surrounds him. city film subjectivity cultural memory remediation digital cinema Social sciences (General) In Societies MDPI AG, 2012 3(2013), 3, Seite 316-331 (DE-627)718627202 (DE-600)2662256-7 20754698 nnns volume:3 year:2013 number:3 pages:316-331 https://doi.org/10.3390/soc3030316 kostenfrei https://doaj.org/article/0da5e27ec8e842daad33e77eb93d4cb2 kostenfrei http://www.mdpi.com/2075-4698/3/3/316 kostenfrei https://doaj.org/toc/2075-4698 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_370 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2086 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700 AR 3 2013 3 316-331 |
allfieldsSound |
10.3390/soc3030316 doi (DE-627)DOAJ060943440 (DE-599)DOAJ0da5e27ec8e842daad33e77eb93d4cb2 DE-627 ger DE-627 rakwb eng H1-99 Russell J. A. Kilbourn verfasserin aut Camera Arriving at the Station: Cinematic Memory as Cultural Memory 2013 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier This paper explores the modern metropolis as an ironically concrete metaphor for the collective memory and the mourning of cinema’s passing, as it—the “city”—is digitally constructed in two recent, auteur-directed, special effects-driven blockbuster films, Inception and Hugo. The modern city, and mass media, such as the cinema, as well as modes of mass transport, especially the train, all originate in the 19th century, but come into their own in the early 20th century in their address to a subject as the mobilised citizen-consumer who, as Anne Friedberg makes clear, is also always a viewer. Additionally, as Barbara Mennel has recently shown, the advent in Europe of trains and time zones, in their transformation of modern time and space, paved the way for cinema’s comparably cataclysmic impact upon modern subjectivity in its iconic reproduction of movement within illusory 3D space. Both films, thus, in their different ways employ cinematic remediation as a form of cultural memory whose nostalgia for cinema’s past is rendered with the latest digital effects, hidden in plain sight in the form of subjective memories (as flashback) and dreams. While a version of this reading has been advanced before (at least for Hugo), this paper goes further by connecting each film’s status as remediated dream-memory to its respective dependence upon the city as a post-cinematic three-dimensional framework within which locative and locomotive desires alike determine a subject whose psyche is indistinguishable from the cityscape that surrounds him. city film subjectivity cultural memory remediation digital cinema Social sciences (General) In Societies MDPI AG, 2012 3(2013), 3, Seite 316-331 (DE-627)718627202 (DE-600)2662256-7 20754698 nnns volume:3 year:2013 number:3 pages:316-331 https://doi.org/10.3390/soc3030316 kostenfrei https://doaj.org/article/0da5e27ec8e842daad33e77eb93d4cb2 kostenfrei http://www.mdpi.com/2075-4698/3/3/316 kostenfrei https://doaj.org/toc/2075-4698 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_370 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2086 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700 AR 3 2013 3 316-331 |
language |
English |
source |
In Societies 3(2013), 3, Seite 316-331 volume:3 year:2013 number:3 pages:316-331 |
sourceStr |
In Societies 3(2013), 3, Seite 316-331 volume:3 year:2013 number:3 pages:316-331 |
format_phy_str_mv |
Article |
institution |
findex.gbv.de |
topic_facet |
city film subjectivity cultural memory remediation digital cinema Social sciences (General) |
isfreeaccess_bool |
true |
container_title |
Societies |
authorswithroles_txt_mv |
Russell J. A. Kilbourn @@aut@@ |
publishDateDaySort_date |
2013-01-01T00:00:00Z |
hierarchy_top_id |
718627202 |
id |
DOAJ060943440 |
language_de |
englisch |
fullrecord |
<?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>01000caa a22002652 4500</leader><controlfield tag="001">DOAJ060943440</controlfield><controlfield tag="003">DE-627</controlfield><controlfield tag="005">20230309005020.0</controlfield><controlfield tag="007">cr uuu---uuuuu</controlfield><controlfield tag="008">230228s2013 xx |||||o 00| ||eng c</controlfield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.3390/soc3030316</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-627)DOAJ060943440</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)DOAJ0da5e27ec8e842daad33e77eb93d4cb2</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-627</subfield><subfield code="b">ger</subfield><subfield code="c">DE-627</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1=" " ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="050" ind1=" " ind2="0"><subfield code="a">H1-99</subfield></datafield><datafield tag="100" ind1="0" ind2=" "><subfield code="a">Russell J. A. Kilbourn</subfield><subfield code="e">verfasserin</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Camera Arriving at the Station: Cinematic Memory as Cultural Memory</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="c">2013</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">Text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">Computermedien</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">Online-Ressource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">This paper explores the modern metropolis as an ironically concrete metaphor for the collective memory and the mourning of cinema’s passing, as it—the “city”—is digitally constructed in two recent, auteur-directed, special effects-driven blockbuster films, Inception and Hugo. The modern city, and mass media, such as the cinema, as well as modes of mass transport, especially the train, all originate in the 19th century, but come into their own in the early 20th century in their address to a subject as the mobilised citizen-consumer who, as Anne Friedberg makes clear, is also always a viewer. Additionally, as Barbara Mennel has recently shown, the advent in Europe of trains and time zones, in their transformation of modern time and space, paved the way for cinema’s comparably cataclysmic impact upon modern subjectivity in its iconic reproduction of movement within illusory 3D space. Both films, thus, in their different ways employ cinematic remediation as a form of cultural memory whose nostalgia for cinema’s past is rendered with the latest digital effects, hidden in plain sight in the form of subjective memories (as flashback) and dreams. While a version of this reading has been advanced before (at least for Hugo), this paper goes further by connecting each film’s status as remediated dream-memory to its respective dependence upon the city as a post-cinematic three-dimensional framework within which locative and locomotive desires alike determine a subject whose psyche is indistinguishable from the cityscape that surrounds him.</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">city film</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">subjectivity</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">cultural memory</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">remediation</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">digital cinema</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Social sciences (General)</subfield></datafield><datafield tag="773" ind1="0" ind2="8"><subfield code="i">In</subfield><subfield code="t">Societies</subfield><subfield code="d">MDPI AG, 2012</subfield><subfield code="g">3(2013), 3, Seite 316-331</subfield><subfield code="w">(DE-627)718627202</subfield><subfield code="w">(DE-600)2662256-7</subfield><subfield code="x">20754698</subfield><subfield code="7">nnns</subfield></datafield><datafield tag="773" ind1="1" ind2="8"><subfield code="g">volume:3</subfield><subfield code="g">year:2013</subfield><subfield code="g">number:3</subfield><subfield code="g">pages:316-331</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.3390/soc3030316</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doaj.org/article/0da5e27ec8e842daad33e77eb93d4cb2</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">http://www.mdpi.com/2075-4698/3/3/316</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="u">https://doaj.org/toc/2075-4698</subfield><subfield code="y">Journal toc</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_USEFLAG_A</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">SYSFLAG_A</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_DOAJ</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_11</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_20</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_22</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_23</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_24</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_39</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_40</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_60</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_62</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_63</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_65</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_69</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_70</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_73</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_95</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_110</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_151</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_161</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_206</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_213</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_230</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_285</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_293</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_370</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_602</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_2014</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_2086</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4012</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4037</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4112</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4125</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4126</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4249</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4305</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4306</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4307</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4313</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4322</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4323</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4324</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4325</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4326</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4335</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4338</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4367</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4700</subfield></datafield><datafield tag="951" ind1=" " ind2=" "><subfield code="a">AR</subfield></datafield><datafield tag="952" ind1=" " ind2=" "><subfield code="d">3</subfield><subfield code="j">2013</subfield><subfield code="e">3</subfield><subfield code="h">316-331</subfield></datafield></record></collection>
|
callnumber-first |
H - Social Science |
author |
Russell J. A. Kilbourn |
spellingShingle |
Russell J. A. Kilbourn misc H1-99 misc city film misc subjectivity misc cultural memory misc remediation misc digital cinema misc Social sciences (General) Camera Arriving at the Station: Cinematic Memory as Cultural Memory |
authorStr |
Russell J. A. Kilbourn |
ppnlink_with_tag_str_mv |
@@773@@(DE-627)718627202 |
format |
electronic Article |
delete_txt_mv |
keep |
author_role |
aut |
collection |
DOAJ |
remote_str |
true |
callnumber-label |
H1-99 |
illustrated |
Not Illustrated |
issn |
20754698 |
topic_title |
H1-99 Camera Arriving at the Station: Cinematic Memory as Cultural Memory city film subjectivity cultural memory remediation digital cinema |
topic |
misc H1-99 misc city film misc subjectivity misc cultural memory misc remediation misc digital cinema misc Social sciences (General) |
topic_unstemmed |
misc H1-99 misc city film misc subjectivity misc cultural memory misc remediation misc digital cinema misc Social sciences (General) |
topic_browse |
misc H1-99 misc city film misc subjectivity misc cultural memory misc remediation misc digital cinema misc Social sciences (General) |
format_facet |
Elektronische Aufsätze Aufsätze Elektronische Ressource |
format_main_str_mv |
Text Zeitschrift/Artikel |
carriertype_str_mv |
cr |
hierarchy_parent_title |
Societies |
hierarchy_parent_id |
718627202 |
hierarchy_top_title |
Societies |
isfreeaccess_txt |
true |
familylinks_str_mv |
(DE-627)718627202 (DE-600)2662256-7 |
title |
Camera Arriving at the Station: Cinematic Memory as Cultural Memory |
ctrlnum |
(DE-627)DOAJ060943440 (DE-599)DOAJ0da5e27ec8e842daad33e77eb93d4cb2 |
title_full |
Camera Arriving at the Station: Cinematic Memory as Cultural Memory |
author_sort |
Russell J. A. Kilbourn |
journal |
Societies |
journalStr |
Societies |
callnumber-first-code |
H |
lang_code |
eng |
isOA_bool |
true |
recordtype |
marc |
publishDateSort |
2013 |
contenttype_str_mv |
txt |
container_start_page |
316 |
author_browse |
Russell J. A. Kilbourn |
container_volume |
3 |
class |
H1-99 |
format_se |
Elektronische Aufsätze |
author-letter |
Russell J. A. Kilbourn |
doi_str_mv |
10.3390/soc3030316 |
title_sort |
camera arriving at the station: cinematic memory as cultural memory |
callnumber |
H1-99 |
title_auth |
Camera Arriving at the Station: Cinematic Memory as Cultural Memory |
abstract |
This paper explores the modern metropolis as an ironically concrete metaphor for the collective memory and the mourning of cinema’s passing, as it—the “city”—is digitally constructed in two recent, auteur-directed, special effects-driven blockbuster films, Inception and Hugo. The modern city, and mass media, such as the cinema, as well as modes of mass transport, especially the train, all originate in the 19th century, but come into their own in the early 20th century in their address to a subject as the mobilised citizen-consumer who, as Anne Friedberg makes clear, is also always a viewer. Additionally, as Barbara Mennel has recently shown, the advent in Europe of trains and time zones, in their transformation of modern time and space, paved the way for cinema’s comparably cataclysmic impact upon modern subjectivity in its iconic reproduction of movement within illusory 3D space. Both films, thus, in their different ways employ cinematic remediation as a form of cultural memory whose nostalgia for cinema’s past is rendered with the latest digital effects, hidden in plain sight in the form of subjective memories (as flashback) and dreams. While a version of this reading has been advanced before (at least for Hugo), this paper goes further by connecting each film’s status as remediated dream-memory to its respective dependence upon the city as a post-cinematic three-dimensional framework within which locative and locomotive desires alike determine a subject whose psyche is indistinguishable from the cityscape that surrounds him. |
abstractGer |
This paper explores the modern metropolis as an ironically concrete metaphor for the collective memory and the mourning of cinema’s passing, as it—the “city”—is digitally constructed in two recent, auteur-directed, special effects-driven blockbuster films, Inception and Hugo. The modern city, and mass media, such as the cinema, as well as modes of mass transport, especially the train, all originate in the 19th century, but come into their own in the early 20th century in their address to a subject as the mobilised citizen-consumer who, as Anne Friedberg makes clear, is also always a viewer. Additionally, as Barbara Mennel has recently shown, the advent in Europe of trains and time zones, in their transformation of modern time and space, paved the way for cinema’s comparably cataclysmic impact upon modern subjectivity in its iconic reproduction of movement within illusory 3D space. Both films, thus, in their different ways employ cinematic remediation as a form of cultural memory whose nostalgia for cinema’s past is rendered with the latest digital effects, hidden in plain sight in the form of subjective memories (as flashback) and dreams. While a version of this reading has been advanced before (at least for Hugo), this paper goes further by connecting each film’s status as remediated dream-memory to its respective dependence upon the city as a post-cinematic three-dimensional framework within which locative and locomotive desires alike determine a subject whose psyche is indistinguishable from the cityscape that surrounds him. |
abstract_unstemmed |
This paper explores the modern metropolis as an ironically concrete metaphor for the collective memory and the mourning of cinema’s passing, as it—the “city”—is digitally constructed in two recent, auteur-directed, special effects-driven blockbuster films, Inception and Hugo. The modern city, and mass media, such as the cinema, as well as modes of mass transport, especially the train, all originate in the 19th century, but come into their own in the early 20th century in their address to a subject as the mobilised citizen-consumer who, as Anne Friedberg makes clear, is also always a viewer. Additionally, as Barbara Mennel has recently shown, the advent in Europe of trains and time zones, in their transformation of modern time and space, paved the way for cinema’s comparably cataclysmic impact upon modern subjectivity in its iconic reproduction of movement within illusory 3D space. Both films, thus, in their different ways employ cinematic remediation as a form of cultural memory whose nostalgia for cinema’s past is rendered with the latest digital effects, hidden in plain sight in the form of subjective memories (as flashback) and dreams. While a version of this reading has been advanced before (at least for Hugo), this paper goes further by connecting each film’s status as remediated dream-memory to its respective dependence upon the city as a post-cinematic three-dimensional framework within which locative and locomotive desires alike determine a subject whose psyche is indistinguishable from the cityscape that surrounds him. |
collection_details |
GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_370 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2086 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700 |
container_issue |
3 |
title_short |
Camera Arriving at the Station: Cinematic Memory as Cultural Memory |
url |
https://doi.org/10.3390/soc3030316 https://doaj.org/article/0da5e27ec8e842daad33e77eb93d4cb2 http://www.mdpi.com/2075-4698/3/3/316 https://doaj.org/toc/2075-4698 |
remote_bool |
true |
ppnlink |
718627202 |
callnumber-subject |
H - Social Science |
mediatype_str_mv |
c |
isOA_txt |
true |
hochschulschrift_bool |
false |
doi_str |
10.3390/soc3030316 |
callnumber-a |
H1-99 |
up_date |
2024-07-03T17:55:17.818Z |
_version_ |
1803581461963472896 |
fullrecord_marcxml |
<?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>01000caa a22002652 4500</leader><controlfield tag="001">DOAJ060943440</controlfield><controlfield tag="003">DE-627</controlfield><controlfield tag="005">20230309005020.0</controlfield><controlfield tag="007">cr uuu---uuuuu</controlfield><controlfield tag="008">230228s2013 xx |||||o 00| ||eng c</controlfield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.3390/soc3030316</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-627)DOAJ060943440</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)DOAJ0da5e27ec8e842daad33e77eb93d4cb2</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-627</subfield><subfield code="b">ger</subfield><subfield code="c">DE-627</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1=" " ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="050" ind1=" " ind2="0"><subfield code="a">H1-99</subfield></datafield><datafield tag="100" ind1="0" ind2=" "><subfield code="a">Russell J. A. Kilbourn</subfield><subfield code="e">verfasserin</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Camera Arriving at the Station: Cinematic Memory as Cultural Memory</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="c">2013</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">Text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">Computermedien</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">Online-Ressource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">This paper explores the modern metropolis as an ironically concrete metaphor for the collective memory and the mourning of cinema’s passing, as it—the “city”—is digitally constructed in two recent, auteur-directed, special effects-driven blockbuster films, Inception and Hugo. The modern city, and mass media, such as the cinema, as well as modes of mass transport, especially the train, all originate in the 19th century, but come into their own in the early 20th century in their address to a subject as the mobilised citizen-consumer who, as Anne Friedberg makes clear, is also always a viewer. Additionally, as Barbara Mennel has recently shown, the advent in Europe of trains and time zones, in their transformation of modern time and space, paved the way for cinema’s comparably cataclysmic impact upon modern subjectivity in its iconic reproduction of movement within illusory 3D space. Both films, thus, in their different ways employ cinematic remediation as a form of cultural memory whose nostalgia for cinema’s past is rendered with the latest digital effects, hidden in plain sight in the form of subjective memories (as flashback) and dreams. While a version of this reading has been advanced before (at least for Hugo), this paper goes further by connecting each film’s status as remediated dream-memory to its respective dependence upon the city as a post-cinematic three-dimensional framework within which locative and locomotive desires alike determine a subject whose psyche is indistinguishable from the cityscape that surrounds him.</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">city film</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">subjectivity</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">cultural memory</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">remediation</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">digital cinema</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Social sciences (General)</subfield></datafield><datafield tag="773" ind1="0" ind2="8"><subfield code="i">In</subfield><subfield code="t">Societies</subfield><subfield code="d">MDPI AG, 2012</subfield><subfield code="g">3(2013), 3, Seite 316-331</subfield><subfield code="w">(DE-627)718627202</subfield><subfield code="w">(DE-600)2662256-7</subfield><subfield code="x">20754698</subfield><subfield code="7">nnns</subfield></datafield><datafield tag="773" ind1="1" ind2="8"><subfield code="g">volume:3</subfield><subfield code="g">year:2013</subfield><subfield code="g">number:3</subfield><subfield code="g">pages:316-331</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.3390/soc3030316</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doaj.org/article/0da5e27ec8e842daad33e77eb93d4cb2</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">http://www.mdpi.com/2075-4698/3/3/316</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="u">https://doaj.org/toc/2075-4698</subfield><subfield code="y">Journal toc</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_USEFLAG_A</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">SYSFLAG_A</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_DOAJ</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_11</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_20</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_22</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_23</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_24</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_39</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_40</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_60</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_62</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_63</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_65</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_69</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_70</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_73</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_95</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_110</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_151</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_161</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_206</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_213</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_230</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_285</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_293</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_370</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_602</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_2014</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_2086</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4012</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4037</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4112</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4125</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4126</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4249</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4305</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4306</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4307</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4313</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4322</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4323</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4324</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4325</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4326</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4335</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4338</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4367</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4700</subfield></datafield><datafield tag="951" ind1=" " ind2=" "><subfield code="a">AR</subfield></datafield><datafield tag="952" ind1=" " ind2=" "><subfield code="d">3</subfield><subfield code="j">2013</subfield><subfield code="e">3</subfield><subfield code="h">316-331</subfield></datafield></record></collection>
|
score |
7.399996 |