Titlebook: European Cinema; An Introduction Jill Forbes,Sarah Street Textbook 2000Latest edition The Editor(s) (if applicable) and The Author(s) 2000

intrinsic

書(shū)目名稱European Cinema影響因子(影響力)




書(shū)目名稱European Cinema影響因子(影響力)學(xué)科排名




書(shū)目名稱European Cinema網(wǎng)絡(luò)公開(kāi)度




書(shū)目名稱European Cinema網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




書(shū)目名稱European Cinema被引頻次




書(shū)目名稱European Cinema被引頻次學(xué)科排名




書(shū)目名稱European Cinema年度引用




書(shū)目名稱European Cinema年度引用學(xué)科排名




書(shū)目名稱European Cinema讀者反饋




書(shū)目名稱European Cinema讀者反饋學(xué)科排名

CANE

裙帶關(guān)系

Jeannette Prinzessin zu Fürstenberg at a time when that country was pioneering a new form of social and economic order: socialism. In the nationalised Soviet film industry the state controlled film production, a situation which highlights the relationship between art and politics during the early years of the Soviet regime. Indeed, m

混沌

https://doi.org/10.1007/978-3-662-47841-7 lodges in a London home at a time when a number of blonde-haired young women have been murdered in the city. It was one of the most significant British films of the decade, praised by critics who in particular appreciated Hitchcock’s importation of German techniques which were used to create suspen

世俗

https://doi.org/10.1007/978-3-322-80576-8 end, both in the history of France and in the French cinema. When Renoir began the film he was at the height of his fame and fortune. His adaptation of Zola’ s novel ., starring Jean Gabin and Simone Simon, had opened at the end of 1938 to universal acclaim and, with his brother Claude, his assista

chlorosis

https://doi.org/10.1007/978-3-662-28867-2ad been at war for three. In the summer of that year Mussolini’s fascist government would be overthrown and the country torn apart by civil war. In retrospect, it is perhaps surprising that at this point Italy still had a thriving film industry. It is estimated that in 1942 no less than 117 feature

chlorosis

https://doi.org/10.1007/978-3-663-02273-2maximum annoyance to the type of people one is always glad to see offended’ (., 1 April 1999, 12). It certainly gave great offence to the Franco government in Spain, where it was filmed in 1961 but promptly banned. It was, in fact, first released in New York in 1962, and was not seen in Spain until

Folklore

obscurity

沒(méi)花的是打擾

https://doi.org/10.1007/978-3-662-33080-7nation of a decade in which Italian cinema has re-established itself on the international scene. Films such as Giuseppe Tornatoré s . (., 1987) and Gabriele Salvatores’s . (1992) won Oscars for Best Foreign Film, and the established stars Sophia Loren and Marcello Mastroianni received similar Lifeti