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Seite 53
... located squarely on the stage , turn to the spectators with words of thanks and explain the moral of the performance which they have just seen ; and in the finale of Carnival Night , “ Comrade Ogurtsov " addresses the spectators .
... located squarely on the stage , turn to the spectators with words of thanks and explain the moral of the performance which they have just seen ; and in the finale of Carnival Night , “ Comrade Ogurtsov " addresses the spectators .
Seite 54
But the same indirectness is in Carnival Night as well . Ogurtsov is the 1956 model of “ Comrade Byvalov , " and the role is played by the same actor , Ilinsky . Ogurtsov wants to organize the carnival according to the traditional canon ...
But the same indirectness is in Carnival Night as well . Ogurtsov is the 1956 model of “ Comrade Byvalov , " and the role is played by the same actor , Ilinsky . Ogurtsov wants to organize the carnival according to the traditional canon ...
Seite 64
What happened here is what happened in A Thousand and One Nights , where the tale was interrupted at the most interesting moment and where one had to wait for the next night . ( AA ) 12 The narrator of Azhaev's Far from Moscow is a ...
What happened here is what happened in A Thousand and One Nights , where the tale was interrupted at the most interesting moment and where one had to wait for the next night . ( AA ) 12 The narrator of Azhaev's Far from Moscow is a ...
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Inhalt
Views from the PostFutureSoviet Eastern European Cinema | 3 |
Jewish Identity in PostCommunist Hungarian Cinema | 24 |
Why Stalinist Musicals? | 38 |
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Bibliografische Informationen
| Titel | Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Band 17,Ausgabe 3 |
| Mitwirkende | Project Muse, JSTOR (Organization), University of Wisconsin--Milwaukee. Center for Twentieth Century Studies |
| Veröffentlicht | 1995 |
| Original von | University of Michigan |
| Digitalisiert | 25. Apr. 2008 |
| Zitat exportieren | BiBTeX EndNote RefMan |