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Seite 101
Cazals and Daniélou : What are the conditions of production of your films , and what projects have you been working on since your last production , Notre siècle ( Our Century ) , 1982 ? Pelechian : My work sometimes entails delays and ...
Cazals and Daniélou : What are the conditions of production of your films , and what projects have you been working on since your last production , Notre siècle ( Our Century ) , 1982 ? Pelechian : My work sometimes entails delays and ...
Seite 12
It is more often produced as spectacle from the place of the Other . At the end of this video sequence , the woman in the trench coat first enters and then exits a subway car , oblivious to the electronic eye trained upon her .
It is more often produced as spectacle from the place of the Other . At the end of this video sequence , the woman in the trench coat first enters and then exits a subway car , oblivious to the electronic eye trained upon her .
Seite 107
It is strange that a film that was so expensive in its production and demanding in its presentation had a subject like that ... quickly and cheaply produced films that were never shown in the movie palaces and were never meant to be .
It is strange that a film that was so expensive in its production and demanding in its presentation had a subject like that ... quickly and cheaply produced films that were never shown in the movie palaces and were never meant to be .
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Inhalt
Collective Memory Credibility Structures and the Case | 31 |
Greg Louganis and | 53 |
Problems for a Colorblind | 70 |
Urheberrecht | |
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