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Gran Torino: a foreign neighbourhood
Published 2009-11-01“…Gran Torino: a foreign neighbourhood…”
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Gran Torino’s Boys and Men with Guns: Hmong Perspectives
Published 2009-12-01Subjects: Get full text
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Gran Torinoís Hmong Lead Bee Vang on Film, Race and Masculinity
Published 2010-12-01Subjects: Get full text
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La geografia sociale dove non c’è (cioè, intendiamoci: dove non si sognerebbe di essere). Ovvero: oggi un vero conservatore è di destra o di sinistra? Note sulla Gran Torino di Clint Eastwood
Published 2021-12-01“…COMMENTO DEL FILM GRAN TORINO…”
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¿Harry Callahan se retira o William Munny llega a la ciudad?
Published 2008-12-01“…En el presente artículo se analizan las relaciones autoriales y a través de los estilemas que “Gran Torino” posee con respecto al resto de la filmografía del director de cine californiano.…”
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Absolving the American guilt: forgiveness and purification in Clint Eastwood’s cinema
Published 2021-07-01“…The guilt-ridden character archetype is a recurring premise in Clint Eastwood’s cinema, recognizable in the inner conflicts of the protagonists of iconic titles, such as Unforgiven (1992), Mystic River (2003), Million Dollar Baby (2004) and Gran Torino (2008). According to Scott, Unforgiven marks the beginning of the filmmaker's authorship stage, where scenarios of diverse genres, such as road movie, war cinema or gangster plots introduce protagonists who coincide in their need for purification. …”
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El fracaso comercial de Los abrazos rotos, análisis de la recaudación en taquilla
Published 2012-10-01“…En España coincidió en cartel con Gran Torino de Clint Eastwood, con un público similar y también adulto. …”
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El fracaso comercial de Los abrazos rotos, análisis de la recaudación en taquilla
Published 2012-09-01“…En España coincidió en cartel con Gran Torino de Clint Eastwood, con un público similar y también adulto. …”
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Reconstructing, Reinterpreting, and Renarrating Code-switching in the Italian Dubbed Version of British and American Multilingual Films
Published 2016-02-01“…Starting from these assumptions, this paper aims at looking contrastively at the translation strategies of the different types of code-switching to be observed in the Italian dubbed versions of such British and American intercultural films as Bend it Like Beckham (Chadha, 2002), My Big Fat Greek Wedding (Zwick, 2002), Real Women Have Curves (Cardoso, 2003), Ae Fond Kiss (Loach, 2004), Spanglish (Brooks, 2004), Gran Torino (Eastwood, 2008), My Life in Ruins (Petrie, 2009), where the clash of cultures is mostly emphasized by the characters' linguistic choices. …”
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