Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Band 17,Ausgabe 31995 |
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Seite 38
... Alexandrov . His name should be familiar as an assistant director to Eisenstein and co - scenarist on October ( 1929 ) and even- tually as editor of Que Viva Mexico . Alexandrov returned from a recent 1932 trip to America with ...
... Alexandrov . His name should be familiar as an assistant director to Eisenstein and co - scenarist on October ( 1929 ) and even- tually as editor of Que Viva Mexico . Alexandrov returned from a recent 1932 trip to America with ...
Seite 41
... Alexandrov's Jolly Fellows was shown at the International Film Exhibition in Venice in 1934 and was suppos- edly seen and appreciated by Charlie Chaplin , though it was not until the film had been successfully shown abroad in Europe and ...
... Alexandrov's Jolly Fellows was shown at the International Film Exhibition in Venice in 1934 and was suppos- edly seen and appreciated by Charlie Chaplin , though it was not until the film had been successfully shown abroad in Europe and ...
Seite 42
... Alexandrov's . But they were even more democratic and " folksy ” and much loved by the audiences . ( 5 ) Ivan Pyriev had begun his career working for the director Yuri Tarich , and made his first film , a silent , in 1929 ( Strange ...
... Alexandrov's . But they were even more democratic and " folksy ” and much loved by the audiences . ( 5 ) Ivan Pyriev had begun his career working for the director Yuri Tarich , and made his first film , a silent , in 1929 ( Strange ...
Inhalt
Views from the PostFutureSoviet Eastern European Cinema | 3 |
Jewish Identity in PostCommunist Hungarian Cinema | 24 |
Why Stalinist Musicals? | 38 |
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