Titlebook: Regelungstechnik; Tjark Ebel Book 1991Latest edition B. G. Teubner Stuttgart 1991 I-Glied.Linearit?t.Methode der harmonischen Balance.PID-

實(shí)施生效

small cinemas, the meaning of this term is not as fixed as its ubiquitous use would suggest. This chapter will examine the ‘independent’ . of feature films, but, in doing so, it is necessary to acknowledge that what counts as ‘independence’ and what distributors can be said to be independent ., are

美麗的寫

Tjark Ebelsmall cinemas, the meaning of this term is not as fixed as its ubiquitous use would suggest. This chapter will examine the ‘independent’ . of feature films, but, in doing so, it is necessary to acknowledge that what counts as ‘independence’ and what distributors can be said to be independent ., are

Hyperplasia

Tjark Ebelan analytic account of value capture by powerful chain participants. Festivals, while mostly operating as nonprofits or with marginal profitability, are found to be key sites for the creation of fields and connections through which value can be extracted and transferred. This is largely achieved via

Pudendal-Nerve

相同

預(yù)示

Tjark Ebelthe European market. Many academic studies of those European film industries that were controlled or significantly reshaped by Nazi Germany (1939–1945) tend to provide rather general, descriptive overviews that reconstruct cultural policy and cinema infrastructure. Such bird’s-eye view on film and c

artless

MURAL

Tjark Ebelcinema and television.. In particular, Elsaesser describes two related strategies of .. The first, ., is a . strategy employed by both television (serials, series, sagas) and cinema (series, sequels, remakes) to deliver and bind a global audience to its product and its own institution. The second, .

裂隙

Tjark Ebelme … through a complex process of cultural negotiation among a motley set of cultural gate-keepers’.. Wollen lists four key agencies or projects that contribute to the process of canon formation. The first of these is the archives and cinematheques that ‘decide which films to preserve and, through t

完成才能戰(zhàn)勝

nd their surrounding discourses need to perform in order to communicate … their status as adaptations is to (make their audiences) . the adapted work, or the cultural memory of it’.. This process of recollection is, of course, realised through texts and is inseparable from them, but alongside . desc