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Chapter Two. Eisenstein in America: The ¡Que Viva México! Debates and Emergent Popular Front U.S. Film Theory and Criticism 第二章。爱森斯坦在美国:“我的生日快乐!”争论与新兴的大众阵线美国电影理论与批评
Left of Hollywood Pub Date : 2010-12-31 DOI: 10.7560/722965-004
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引用次数: 0
Frontmatter
Left of Hollywood Pub Date : 2010-12-31 DOI: 10.7560/722965-fm
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引用次数: 0
Chapter Four. Taking Hollywood Back: Gendered Histories of the Hollywood Costume Drama, the Biopic, and Jean Renoir’s La Marseillaise 第四章。回归好莱坞:好莱坞古装剧、传记片和让·雷诺阿的《马赛曲》的性别史
Left of Hollywood Pub Date : 2010-12-31 DOI: 10.7560/722965-006
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引用次数: 0
Acknowledgments 致谢
Left of Hollywood Pub Date : 2010-12-31 DOI: 10.7560/722965-001
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引用次数: 0
Conclusion. Fragments of the Future 结论。未来的碎片
Left of Hollywood Pub Date : 2010-12-31 DOI: 10.7560/722965-007
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引用次数: 0
Introduction. Unfinished Promises to an Orphaned Time 介绍。对孤儿时代未完成的承诺
Left of Hollywood Pub Date : 2010-12-31 DOI: 10.7560/722965-002
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引用次数: 0
Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism 第三章。放映竞赛:反私刑电影、黑人媒体和美国人民阵线电影评论
Left of Hollywood Pub Date : 2010-12-31 DOI: 10.7560/722965-005
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引用次数: 0
Chapter One. Montage, Realism, and the Male Gaze 第一章。蒙太奇、现实主义和男性凝视
Left of Hollywood Pub Date : 2010-12-31 DOI: 10.7560/722965-003
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引用次数: 0
Index 指数
Left of Hollywood Pub Date : 2010-12-31 DOI: 10.7560/722965-010
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引用次数: 0
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