Popular Cinemas in East Central Europe
portes grátis
Popular Cinemas in East Central Europe
Film Cultures and Histories
Pitassio, Francesco; Ostrowska, Dorota; Varga, Zsuzsanna
Bloomsbury Publishing PLC
11/2021
384
Mole
Inglês
9781350244269
15 a 20 dias
531
Descrição não disponível.
1. INTRODUCTION
2. Producing the Popular
Chapter 1: How to be loved? Three takes on 'the popular' in socialist and nonsocialist cinema (Paul Coates)
Chapter 2: Postwar Czechoslovak Comedy, the Autonomization of Parody, and Lemonade Joe (1964) (Petr Szczepanik)
Chapter 3: The Czechoslovak-East German Co-Production Three Nuts for Cinderella - A Transnational Tale (Pavel Skopal)
Chapter 4: Hollywood's factor in the most popular Hungarian films of the 1996-2014 period: when a small postcommunist cinema meets a mainstream one (Andrea Virginas)
Chapter 5: Serial Nostagia: On Alternative Modes of Popular Cinema in Post-89 Czech Production (Francesco Pitassio)
3. Genre:
Chapter 6: Czech Historical Film and Historical Traditions: The Merry Wives (1938) (Ivan Klimes)
Chapter 7: Transformations: Hungarian Popular Cinema in the 1950s (Balazs Varga)
Chapter 8: Poland's Wild West and East: Polish Westerns of the 1960s (Miko?aj Kunicki)
Chapter 9: The Paradox of Popularity: The Case of Crime Movie with Socialism in Hungary (Gabor Gelencser)
Chapter 10: Film in Full Gallop: Aesthetics and the Equine in Poland's Epic Cinema (Matilda Mroz)
Chapter 11: The Power of Love: Polish Postcommunist Popular Cinema (El?bieta Ostrowska)
Chapter 12: When Walls Fall: Families in Hungarian Films of the New Europe (Clara Orban)
4. Stardom, Exhibition, and Reception:
Chapter 13: Starlets and heartthrobs: the Hungarian cinema of the interwar period (Zsuzanna Varga)
Chapter 14: Stripping of his charms: The stability and transformation of Old?ich Novy's star image 1936-1955 (Sarka Gmiterkova)
Chapter 15: "Humanist Screens": Foreign Cinema in Socialist Poland (1945-1956) (Dorota Ostrowska)
Chapter 16: The Exhibition of Popular Cinema in the Czech Republic and Slovakia After 1989 within the Context of the European Union (Jan Hanzlik)
2. Producing the Popular
Chapter 1: How to be loved? Three takes on 'the popular' in socialist and nonsocialist cinema (Paul Coates)
Chapter 2: Postwar Czechoslovak Comedy, the Autonomization of Parody, and Lemonade Joe (1964) (Petr Szczepanik)
Chapter 3: The Czechoslovak-East German Co-Production Three Nuts for Cinderella - A Transnational Tale (Pavel Skopal)
Chapter 4: Hollywood's factor in the most popular Hungarian films of the 1996-2014 period: when a small postcommunist cinema meets a mainstream one (Andrea Virginas)
Chapter 5: Serial Nostagia: On Alternative Modes of Popular Cinema in Post-89 Czech Production (Francesco Pitassio)
3. Genre:
Chapter 6: Czech Historical Film and Historical Traditions: The Merry Wives (1938) (Ivan Klimes)
Chapter 7: Transformations: Hungarian Popular Cinema in the 1950s (Balazs Varga)
Chapter 8: Poland's Wild West and East: Polish Westerns of the 1960s (Miko?aj Kunicki)
Chapter 9: The Paradox of Popularity: The Case of Crime Movie with Socialism in Hungary (Gabor Gelencser)
Chapter 10: Film in Full Gallop: Aesthetics and the Equine in Poland's Epic Cinema (Matilda Mroz)
Chapter 11: The Power of Love: Polish Postcommunist Popular Cinema (El?bieta Ostrowska)
Chapter 12: When Walls Fall: Families in Hungarian Films of the New Europe (Clara Orban)
4. Stardom, Exhibition, and Reception:
Chapter 13: Starlets and heartthrobs: the Hungarian cinema of the interwar period (Zsuzanna Varga)
Chapter 14: Stripping of his charms: The stability and transformation of Old?ich Novy's star image 1936-1955 (Sarka Gmiterkova)
Chapter 15: "Humanist Screens": Foreign Cinema in Socialist Poland (1945-1956) (Dorota Ostrowska)
Chapter 16: The Exhibition of Popular Cinema in the Czech Republic and Slovakia After 1989 within the Context of the European Union (Jan Hanzlik)
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
1. INTRODUCTION
2. Producing the Popular
Chapter 1: How to be loved? Three takes on 'the popular' in socialist and nonsocialist cinema (Paul Coates)
Chapter 2: Postwar Czechoslovak Comedy, the Autonomization of Parody, and Lemonade Joe (1964) (Petr Szczepanik)
Chapter 3: The Czechoslovak-East German Co-Production Three Nuts for Cinderella - A Transnational Tale (Pavel Skopal)
Chapter 4: Hollywood's factor in the most popular Hungarian films of the 1996-2014 period: when a small postcommunist cinema meets a mainstream one (Andrea Virginas)
Chapter 5: Serial Nostagia: On Alternative Modes of Popular Cinema in Post-89 Czech Production (Francesco Pitassio)
3. Genre:
Chapter 6: Czech Historical Film and Historical Traditions: The Merry Wives (1938) (Ivan Klimes)
Chapter 7: Transformations: Hungarian Popular Cinema in the 1950s (Balazs Varga)
Chapter 8: Poland's Wild West and East: Polish Westerns of the 1960s (Miko?aj Kunicki)
Chapter 9: The Paradox of Popularity: The Case of Crime Movie with Socialism in Hungary (Gabor Gelencser)
Chapter 10: Film in Full Gallop: Aesthetics and the Equine in Poland's Epic Cinema (Matilda Mroz)
Chapter 11: The Power of Love: Polish Postcommunist Popular Cinema (El?bieta Ostrowska)
Chapter 12: When Walls Fall: Families in Hungarian Films of the New Europe (Clara Orban)
4. Stardom, Exhibition, and Reception:
Chapter 13: Starlets and heartthrobs: the Hungarian cinema of the interwar period (Zsuzanna Varga)
Chapter 14: Stripping of his charms: The stability and transformation of Old?ich Novy's star image 1936-1955 (Sarka Gmiterkova)
Chapter 15: "Humanist Screens": Foreign Cinema in Socialist Poland (1945-1956) (Dorota Ostrowska)
Chapter 16: The Exhibition of Popular Cinema in the Czech Republic and Slovakia After 1989 within the Context of the European Union (Jan Hanzlik)
2. Producing the Popular
Chapter 1: How to be loved? Three takes on 'the popular' in socialist and nonsocialist cinema (Paul Coates)
Chapter 2: Postwar Czechoslovak Comedy, the Autonomization of Parody, and Lemonade Joe (1964) (Petr Szczepanik)
Chapter 3: The Czechoslovak-East German Co-Production Three Nuts for Cinderella - A Transnational Tale (Pavel Skopal)
Chapter 4: Hollywood's factor in the most popular Hungarian films of the 1996-2014 period: when a small postcommunist cinema meets a mainstream one (Andrea Virginas)
Chapter 5: Serial Nostagia: On Alternative Modes of Popular Cinema in Post-89 Czech Production (Francesco Pitassio)
3. Genre:
Chapter 6: Czech Historical Film and Historical Traditions: The Merry Wives (1938) (Ivan Klimes)
Chapter 7: Transformations: Hungarian Popular Cinema in the 1950s (Balazs Varga)
Chapter 8: Poland's Wild West and East: Polish Westerns of the 1960s (Miko?aj Kunicki)
Chapter 9: The Paradox of Popularity: The Case of Crime Movie with Socialism in Hungary (Gabor Gelencser)
Chapter 10: Film in Full Gallop: Aesthetics and the Equine in Poland's Epic Cinema (Matilda Mroz)
Chapter 11: The Power of Love: Polish Postcommunist Popular Cinema (El?bieta Ostrowska)
Chapter 12: When Walls Fall: Families in Hungarian Films of the New Europe (Clara Orban)
4. Stardom, Exhibition, and Reception:
Chapter 13: Starlets and heartthrobs: the Hungarian cinema of the interwar period (Zsuzanna Varga)
Chapter 14: Stripping of his charms: The stability and transformation of Old?ich Novy's star image 1936-1955 (Sarka Gmiterkova)
Chapter 15: "Humanist Screens": Foreign Cinema in Socialist Poland (1945-1956) (Dorota Ostrowska)
Chapter 16: The Exhibition of Popular Cinema in the Czech Republic and Slovakia After 1989 within the Context of the European Union (Jan Hanzlik)
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