Preface |
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xiii | |
Preface to the Fifth Edition |
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xv | |
1 Origins |
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3 | (22) |
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3 | (2) |
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5 | (2) |
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7 | (2) |
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Projection: Europe and America |
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9 | (4) |
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The Evolution of Narrative: Georges Méliès |
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13 | (4) |
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Edwin S. Porter: Developing a Concept of Continuity Editing |
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17 | (8) |
2 International Expansion, 1907-1918 |
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25 | (20) |
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25 | (9) |
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The Early Industrial Production Process |
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25 | (1) |
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The Motion Picture Patents Company |
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26 | (2) |
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The Advent of the Feature Film |
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28 | (1) |
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The Rise of the Star System |
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29 | (1) |
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30 | (1) |
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The New Studio Chiefs and Industry Realignment |
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30 | (2) |
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The "Block Booking" Dispute and the Acquisition of Theaters |
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32 | (1) |
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The Rise of Hollywood to International Dominance |
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33 | (1) |
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Expansion on the Continent |
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34 | (11) |
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The Empire of Pathé Frères |
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34 | (1) |
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Louis Feuillade and the Rise of Gaumont |
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35 | (4) |
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39 | (1) |
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The Italian Superspectacle |
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40 | (5) |
3 D.W. Griffith And The Development Of Narrative Form |
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45 | (26) |
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46 | (1) |
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The Beginning at Biograph |
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46 | (1) |
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Innovation, 1908-1909: Interframe Narrative |
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47 | (2) |
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Innovation, 1909-1911: Intraframe Narrative |
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49 | (2) |
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Griffith's Drive for Increased Film Length |
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51 | (1) |
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Judith of Bethulia and the Move to Mutual |
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51 | (2) |
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53 | (7) |
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53 | (3) |
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56 | (3) |
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59 | (1) |
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60 | (4) |
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60 | (1) |
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61 | (2) |
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63 | (1) |
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Griffith after Intolerance |
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64 | (3) |
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67 | (2) |
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The Importance of Griffith |
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69 | (2) |
4 German Cinema Of The Weimar Period, 1919-1929 |
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71 | (18) |
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71 | (1) |
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72 | (2) |
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Das Kabinett des Dr. Caligari |
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74 | (2) |
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76 | (2) |
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F.W. Murnau and the Kammerspielfilm |
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78 | (3) |
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The Parufamet Agreement and the Migration to Hollywood |
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81 | (1) |
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G.W. Pabst and "Street" Realism |
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82 | (5) |
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87 | (2) |
5 Soviet Silent Cinema And The Theory Of Montage, 1917-1931 |
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89 | (30) |
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89 | (1) |
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The Origins of Soviet Cinema |
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90 | (2) |
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Dziga Vertov and the Kino-Eye |
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92 | (2) |
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Lev Kuleshov and the Kuleshov Workshop |
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94 | (5) |
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99 | (13) |
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99 | (3) |
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102 | (1) |
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The Production of Battleship Potemkin |
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103 | (1) |
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The Structure of Potemkin |
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103 | (1) |
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Eisenstein's Theory of Dialectical Montage |
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104 | (5) |
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October (Ten Days That Shook the World, 1928): A Laboratory for Intellectual Montage |
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109 | (2) |
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111 | (1) |
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112 | (2) |
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114 | (1) |
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Socialist Realism and the Decline of Soviet Cinema |
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115 | (4) |
6 Hollywood In The Twenties |
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119 | (32) |
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Thomas Ince, Mack Sennett, and the Studio System of Production |
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120 | (3) |
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123 | (4) |
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127 | (4) |
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131 | (3) |
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Hollywood Scandals and the Creation of the MPPDA |
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134 | (2) |
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136 | (2) |
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The "Continental Touch": Lubitsch and Others |
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138 | (1) |
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139 | (3) |
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142 | (9) |
7 The Coming Of Sound And Color, 1926-1935 |
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151 | (28) |
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151 | (2) |
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153 | (1) |
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154 | (3) |
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157 | (1) |
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The Process of Conversion |
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158 | (3) |
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The Introduction of Color |
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161 | (8) |
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Problems of Early Sound Recording |
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169 | (3) |
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The Theoretical Debate over Sound |
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172 | (2) |
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174 | (5) |
8 The Sound Film And The American Studio System |
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179 | (44) |
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179 | (3) |
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Studio Politics and the Production Code |
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182 | (3) |
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The Structure of the Studio System |
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185 | (12) |
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185 | (2) |
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187 | (1) |
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187 | (1) |
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187 | (2) |
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189 | (1) |
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190 | (2) |
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192 | (1) |
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193 | (4) |
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Major Figures of the Studio Era |
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197 | (24) |
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197 | (2) |
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199 | (4) |
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203 | (2) |
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205 | (12) |
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George Cukor, William Wyler, and Frank Capra |
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217 | (4) |
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The Heritage of the Studio System |
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221 | (2) |
9 Europe In The Thirties |
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223 | (28) |
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The International Diffusion of Sound |
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223 | (1) |
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224 | (1) |
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225 | (3) |
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228 | (1) |
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229 | (4) |
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233 | (18) |
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Avant-Garde Impressionism, 1921-1929 |
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233 | (3) |
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236 | (4) |
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240 | (2) |
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Poetic Realism, 1934-1940 |
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242 | (3) |
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245 | (6) |
10 Orson Welles And The Modern Sound Film |
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251 | (24) |
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252 | (15) |
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252 | (6) |
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258 | (9) |
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267 | (1) |
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Welles after Citizen Kane |
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267 | (8) |
11 Wartime And Postwar Cinema: Italy And The United States, 1940-1951 |
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275 | (28) |
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275 | (1) |
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276 | (9) |
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The Italian Cinema before Neorealism |
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276 | (2) |
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The Foundations of Neorealism |
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278 | (2) |
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Neorealism: Major Figures and Films |
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280 | (3) |
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The Decline of Neorealism |
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283 | (2) |
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285 | (1) |
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285 | (5) |
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285 | (3) |
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288 | (2) |
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Postwar Genres in the United States |
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290 | (13) |
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"Social Consciousness" Films and Semi-Documentary Melodramas |
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290 | (3) |
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293 | (3) |
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The Witch Hunt and the Blacklist |
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296 | (4) |
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The Arrival of Television |
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300 | (3) |
12 Hollywood, 1952-1965 |
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303 | (36) |
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303 | (2) |
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305 | (16) |
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Multiple-Camera/Projector Widescreen: Cinerama |
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305 | (3) |
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308 | (2) |
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The Anamorphic Widescreen Processes |
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310 | (2) |
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The Non-Anamorphic, or Wide-Film, Widescreen Processes |
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312 | (3) |
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315 | (2) |
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The Widescreen "Blockbuster" |
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317 | (1) |
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American Directors in the Early Widescreen Age |
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317 | (4) |
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321 | (12) |
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323 | (1) |
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323 | (1) |
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324 | (2) |
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The Gangster Film and the Anticommunist Film |
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326 | (2) |
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328 | (3) |
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The "Small Film": American Kammerspielfilm |
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331 | (2) |
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Independent Production and the Decline of the Studio System |
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333 | (2) |
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The Scrapping of the Production Code |
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335 | (4) |
13 The French New Wave, Or Nouvelle Vague, And Its Native Context |
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339 | (46) |
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The Occupation and Postwar Cinema |
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339 | (11) |
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Robert Bresson and Jacques Tati |
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343 | (2) |
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345 | (2) |
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Influence of the Fifties Documentary Movement and Independent Production |
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347 | (3) |
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Theory: Astruc, Bazin, Auteurism, and Cahiers du cinéma |
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350 | (1) |
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The New Wave (Nouvelle Vague): First Films |
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351 | (3) |
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The New Wave: Origins of Style |
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354 | (2) |
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356 | (16) |
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357 | (3) |
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360 | (4) |
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364 | (1) |
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365 | (2) |
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367 | (2) |
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Eric Rohmer and Jacques Rivette |
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369 | (1) |
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Agnès Varda, Jacques Demy, and Others |
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370 | (2) |
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372 | (4) |
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French Cinema in the 1980s and the 1990s |
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376 | (6) |
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The Significance of the New Wave |
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382 | (3) |
14 New Cinemas In Britain And The English-Speaking Commonwealth |
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385 | (40) |
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385 | (19) |
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Postwar British Cinema and Its Context |
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385 | (2) |
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387 | (2) |
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British "New Cinema," or Social Realism |
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389 | (3) |
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The End of Social Realism and Beyond |
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392 | (12) |
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Australia and New Zealand |
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404 | (11) |
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404 | (7) |
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411 | (4) |
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415 | (10) |
15 European Renaissance: West |
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425 | (56) |
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The Second Italian Film Renaissance |
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425 | (16) |
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425 | (3) |
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428 | (5) |
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Ermanno Olmi, Pier Paolo Pasolini, and Bernardo Bertolucci |
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433 | (2) |
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435 | (6) |
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441 | (3) |
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Contemporary Widescreen Technologies and Styles |
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444 | (4) |
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Scandinavian or Nordic Cinema |
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448 | (8) |
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Ingmar Bergman and Others |
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448 | (3) |
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451 | (1) |
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451 | (1) |
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452 | (3) |
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455 | (1) |
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456 | (7) |
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456 | (4) |
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460 | (3) |
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463 | (4) |
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463 | (1) |
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463 | (1) |
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464 | (3) |
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International Stature: Fassbinder, Herzog, Wenders, and Others |
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467 | (14) |
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467 | (3) |
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470 | (3) |
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473 | (2) |
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Hans-Jürgen Syberberg and Others |
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475 | (1) |
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Jean-Marie Straub and Marxist Aesthetics |
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475 | (6) |
16 European Renaissance: East |
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481 | (52) |
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482 | (8) |
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482 | (2) |
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484 | (2) |
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486 | (2) |
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Solidarity and Polish Cinema |
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488 | (2) |
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490 | (10) |
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490 | (2) |
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492 | (6) |
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498 | (2) |
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500 | (11) |
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500 | (2) |
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502 | (1) |
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503 | (2) |
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Gaál, Szabó, and Mészáros |
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505 | (3) |
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Other Hungarian Directors |
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508 | (3) |
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511 | (12) |
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Partisan Cinema and Nationalist Realism |
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512 | (1) |
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513 | (4) |
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517 | (6) |
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523 | (3) |
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526 | (3) |
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529 | (2) |
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The Importance of Eastern European Cinema |
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531 | (2) |
17 The Former Soviet Union |
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533 | (32) |
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Cinema during the Khrushchev Thaw |
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534 | (3) |
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Sergei Parajanov and Shadows of Forgotten Ancestors |
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537 | (2) |
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539 | (3) |
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Cinema of the Non-Russian Republics |
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542 | (1) |
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542 | (2) |
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542 | (1) |
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543 | (1) |
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544 | (1) |
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544 | (1) |
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545 | (6) |
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545 | (2) |
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547 | (2) |
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549 | (2) |
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551 | (4) |
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551 | (1) |
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552 | (1) |
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553 | (1) |
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554 | (1) |
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555 | (1) |
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555 | (5) |
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Glasnost, Perestroika, and the Collapse of the Soviet Union |
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560 | (5) |
18 Wind From The East: Japan, India, And China |
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565 | (58) |
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565 | (29) |
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565 | (2) |
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567 | (1) |
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568 | (1) |
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569 | (1) |
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Rashomon, Kurosawa, and the Postwar Renaissance |
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570 | (4) |
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574 | (1) |
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575 | (2) |
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577 | (1) |
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The Second Postwar Generation |
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578 | (2) |
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580 | (6) |
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Japanese Filmmaking after the New Wave |
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586 | (5) |
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591 | (3) |
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594 | (9) |
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597 | (1) |
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598 | (1) |
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599 | (4) |
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603 | (20) |
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The People's Republic of China |
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604 | (5) |
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609 | (9) |
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Taiwan (Republic of China) |
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618 | (5) |
19 Third World Cinema |
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623 | (46) |
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625 | (15) |
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627 | (2) |
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629 | (3) |
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632 | (3) |
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635 | (3) |
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Venezuela, Colombia, and Central America |
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638 | (2) |
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Cuba and the New Latin American Cinema |
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640 | (3) |
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643 | (8) |
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643 | (4) |
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647 | (4) |
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651 | (8) |
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651 | (6) |
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657 | (2) |
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659 | (10) |
20 Hollywood, 1965-1995 |
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669 | (32) |
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671 | (8) |
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The Impact of Bonnie and Clyde |
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671 | (3) |
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674 | (2) |
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The Wild Bunch: "Zapping the Cong" |
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676 | (1) |
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677 | (2) |
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Hollywood in the Seventies and the Eighties |
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679 | (22) |
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Inflation and Conglomeration |
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679 | (3) |
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New Filmmakers of the Seventies and the Eighties |
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682 | (8) |
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The American Film Industry in the Age of "Kidpix" |
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690 | (3) |
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Developments in Film Stock |
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693 | (1) |
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694 | (7) |
21 The Digital Domain |
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701 | (32) |
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701 | (4) |
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Origins of Computer Animation, 1962-1988 |
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702 | (3) |
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705 | (4) |
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From The Abyss to Death Becomes Her |
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705 | (3) |
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The Impact of Jurassic Park, 1993-1996 |
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708 | (1) |
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Digital Domain and Titanic |
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709 | (1) |
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Particle Animation, 1996-1997: Twister, Independence Day, and Starship Troopers |
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710 | (3) |
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A New "New Hollywood," 1997-1998 |
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713 | (3) |
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The Digital Manipulation of Color |
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716 | (3) |
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719 | (3) |
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722 | (1) |
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A New Aesthetic for a New Century |
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723 | (3) |
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726 | (2) |
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728 | (5) |
22 A Global Cinema? |
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733 | (32) |
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Megapictures, or "Tent Poles" |
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733 | (5) |
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738 | (1) |
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Globalization's Effects on Local Cinemas |
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738 | (4) |
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742 | (1) |
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743 | (1) |
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744 | (1) |
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745 | (1) |
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Long Movies on Television |
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746 | (2) |
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748 | (1) |
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748 | (2) |
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750 | (1) |
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750 | (2) |
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The Rise and Fall of "Torture Porn" |
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750 | (1) |
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The Hybridization of Comedy and Drama |
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751 | (1) |
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752 | (3) |
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755 | (9) |
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|
764 | (1) |
Glossary |
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765 | (17) |
Photo Credits |
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782 | (5) |
Name Index |
|
787 | (17) |
Subject Index |
|
804 | |