Introduction to film studies:
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London [u.a.]
Routledge
2012
|
| Ausgabe: | 5. ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XXV, 536 S. Ill. |
| ISBN: | 9780415582575 0415582571 9780415582599 0415582598 9780203824139 020382413X |
Internformat
MARC
| LEADER | 00000nam a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV040028815 | ||
| 003 | DE-604 | ||
| 005 | 20141112 | ||
| 007 | t | ||
| 008 | 120403s2012 a||| |||| 00||| eng d | ||
| 020 | |a 9780415582575 |c hbk |9 978-0-415-58257-5 | ||
| 020 | |a 0415582571 |9 0-415-58257-1 | ||
| 020 | |a 9780415582599 |c pbk |9 978-0-415-58259-9 | ||
| 020 | |a 0415582598 |9 0-415-58259-8 | ||
| 020 | |a 9780203824139 |9 978-0-203-82413-9 | ||
| 020 | |a 020382413X |9 0-203-82413-X | ||
| 035 | |a (OCoLC)802343132 | ||
| 035 | |a (DE-599)BVBBV040028815 | ||
| 040 | |a DE-604 |b ger |e rakwb | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-634 |a DE-703 |a DE-824 |a DE-29 |a DE-19 |a DE-739 |a DE-384 | ||
| 082 | 0 | |a 791.43 | |
| 084 | |a AP 43450 |0 (DE-625)7501: |2 rvk | ||
| 245 | 1 | 0 | |a Introduction to film studies |c ed. by Jill Nelmes |
| 250 | |a 5. ed. | ||
| 264 | 1 | |a London [u.a.] |b Routledge |c 2012 | |
| 300 | |a XXV, 536 S. |b Ill. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 650 | 4 | |a Motion pictures | |
| 650 | 4 | |a Film | |
| 650 | 0 | 7 | |a Filmwissenschaft |0 (DE-588)4154385-3 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Film |0 (DE-588)4017102-4 |2 gnd |9 rswk-swf |
| 655 | 7 | |0 (DE-588)4151278-9 |a Einführung |2 gnd-content | |
| 689 | 0 | 0 | |a Filmwissenschaft |0 (DE-588)4154385-3 |D s |
| 689 | 0 | |5 DE-604 | |
| 689 | 1 | 0 | |a Film |0 (DE-588)4017102-4 |D s |
| 689 | 1 | |8 1\p |5 DE-604 | |
| 700 | 1 | |a Nelmes, Jill |d 1954- |0 (DE-588)133620433 |4 edt | |
| 856 | 4 | 2 | |m HBZ Datenaustausch |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024885753&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-024885753 | ||
| 883 | 1 | |8 1\p |a cgwrk |d 20201028 |q DE-101 |u https://d-nb.info/provenance/plan#cgwrk | |
Datensatz im Suchindex
| _version_ | 1804149024689750016 |
|---|---|
| adam_text | Titel: Introduction to film studies
Autor: Nelmes, Jill
Jahr: 2012
Contents
List of illustrations xii
Notes on contributors xvi
Foreword xviii
BILL NICHOLLS
Acknowledgements xx
Introduction to the fifth edition xxi
JILL NELMES
PART ONE: CINEMA AS INSTITUTION: TECHNOLOGY,
INDUSTRY AND AUDIENCE 1
¦ 1 The industrial contexts of film production 2
SEARLE KOCHBERG
Introduction 3
The origins of the American film industry (1900 to 1915) 3
The studio era of American film (1930 to 1949) 6
Case study 1: Warner Brothers 10
The contemporary film industry (1949 onwards) 13
Case study 2: Marketing a blockbuster in the pre-internet era: Jurassic Park (1993) 19
Case study 3: Marketing in the internet era: Paramount s online marketing
campaign for paranormal activity (2007) prior to general release 20
Case study 4: The ascendancy of 3D animated digital production: Avatar (2009) 22
Case study 5: A US blockbuster production: Gladiator (2000) 23
Case study 6: A medium-budget UK production: Slumdog Millionaire (2008) 27
Film Audiences 31
Case study 7: Building an audience on the web for The Blair Witch Project (1999) 36
Summary 36
Conclusion 37
Question for discussion 37
Notes 37
Further reading 39
Further viewing 40
¦ 2 Contemporary film technology 41
WILLIAM WHITTINGTON
Introduction 42
Technology in motion: from invention to agency 42
Theories of technology 46
Computer graphic imaging systems 47
Case study 1: District 9 (2009) 49
CONTENTS
Case study 2: Star Trek (2009) 51
3D exhibition technology 53
Case study 3: Avatar (2009) 54
Conclusion 56
Summary 56
Questions for discussion 57
Notes 57
Further reading 57
Further viewing 58
Resource centres 58
PART TWO: APPROACHES TO STUDYING FILM: FORM AND
TEXT 59
¦ 3 Before getting to the bigger picture 60
PATRICK PHILLIPS
Introduction: changing approaches to film 61
A short film on YouTube 62
The still and the moving ¡mage 65
Trying to name a certain quality in film 70
Time and memory 72
Conclusion: Film fragments 74
Summary 76
Notes 76
Further reading 78
Further viewing 78
¦ 4 Film form and narrative 79
SUSAN SPEIDEL
Introducing form and narrative 80
Conventions, Hollywood, art and avant-garde cinema 81
Cinematic codes 87
Case study 1: Classical conventions in Gladiator (Ridley Scott, 2000) 102
Case study 2: Artistry, comedy and ambiguity in Loves of a Blonde/Lásky jedné
plavovlásky (Milos Forman, 1965) 104
Case study 3: Postmodernism and playing games in Run Lola Run/Lola Rennt (Tom
Tykwer, 1998) 107
Conclusion 109
Summary 110
Questions for discussion 111
Further reading 111
Further viewing 111
Resource centres 112
¦ 5 Spectator, audience and response 113
PATRICK PHILLIPS
Introduction 114
The cinema spectator 114
The film audience -|-)6
Response studies - - j
What we can learn from Early Cinema 119
Case study 1: The response to The Birth of a Nation (D.W. Griffith, 1915) 123
The spectator of theory 126
Response 130
Case study 2: Pulp Fiction (Quentin Tarantino, 1994) 132
Summary 13g
Questions for discussion 140
Further reading 140
CONTENTS
Further viewing 141
Resource centres 141
¦ 6 Cinematic authorship and the film auteur 142
PAUL WATSON
Introduction 143
The three paradoxes of cinematic authorship 143
What s the use of authorship? 148
The problems of auteur theory 152
A biographical legend: the commerce of authorship 153
Towards a pragmatic conception of cinematic authorship 155
Case study 1: Style as substance: Quentin Tarantino and the director-as-auteur 157
Modes of auteursim 161
Conclusion 163
Summary 163
Questions for discussion 164
Further reading 164
¦ 7 Star studies: text, pleasure, identity 166
PAUL WATSON
Introduction: screen ¡cons to cultural bygones? 167
Three approaches to conceptualising stardom 168
When is a star not a star? 170
Modes of stardom in contemporary cinema 171
Case study 1: Masculinity on a knife-edge: analysing Tom Cruise 175
Conclusion: stardom and cultural identity 180
Summary 183
Questions for discussion 184
Further reading 184
Further viewing 185
Resource centres 185
PART THREE: STUDYNG GENRE 187
¦ 8 Approaches to film genre - taxonomy/genericity/
metaphor 188
PAUL WATSON
Introduction 189
Genre theory and Hollywood cinema 189
Defining genre(s) 192
Genre as economic strategy 197
Genre as cognition 199
Case study 1: From text to intertext: genericity and Moulin Rouge 200
Rethinking genre: multiplicity and metaphor 203
Conclusion 206
Summary 206
Questions for discussion 207
Further reading 207
Further viewing 208
¦ 9 The documentary form 209
PAUL WARD
Introduction 210
What is documentary? 211
Proto-documentary - the case of early film actualities 213
Case study 1: The films of Mitchell and Kenyon 214
The shift to narrative structure in documentary 215
CONTENTS
John Grierson and the British documentary movement 216
Post-war developments in observational documentary 218
Case study 2: Grey Gardens (Maysles Brothers, 1975) 220
The move to performative and reflexive documentary 221
Case study 3: Grizzly Man (Werner Herzog, 2005) 222
Documentary, drama and performance 224
Case study 4: Twockers (Pawel Pawlikowski and Ian Duncan, 1998) 225
Conclusion 226
Summary 226
Questions for discussion 227
Notes 227
Further reading 227
Further viewing 227
Resource centres 228
¦ IO The language of animation 229
PAUL WELLS
Introduction 230
What is animation? 231
Early animation 233
The legacy of Disney 235
Case study 1: Deconstructing the cartoon: Duck Amuck (Chuck Jones, 1953) 236
Case study 2: Animation as a self-reflexive language: Fast Film (Virgil Widrich,
2003) 239
Perpetual modernity 240
Case study 3: Recalling and revising animation tradition: Breakfast on the Grass 244
The impact of animé 248
Case study 4: Hayao Miyazaki 248
Case study 5: Norman McLaren 250
Conclusion: Computers and convergence 253
Summary 256
Questions for discussion 256
Further reading 257
Further viewing 258
Resource centres 258
PART IV: CINEMA, IDENTITY AND THE POLITICS OF
REPRESENTATION 261
¦ 11 Gender and film 262
JILL NELMES
Introduction 263
Women and film 264
No job for a woman - a history of women in film 265
The feminist revolution 269
Feminist film theory and practice 269
Representation of gender and sexuality 272
Reassessing feminist film theory 273
Case study 1: Sally Potter, filmmaker 278
Case study 2: Nicole Holofcener, writer/director 280
Gender theory and theories of masculinity 283
Case stuoy 3: Fight Club (David Fincher, 1999) 291
Conclusion 293
Summary 293
Questions for discussion 293
Notes 294
Further reading 294
Further viewing 295
Resource centres 296
CONTENTS
¦ 12 Lesbian and gay cinema 298
CHRIS JONES
Introduction: Representation 299
Definitions and developments: changing language 299
Audiences 300
Rim Festivals: developing awareness 301
Consciousness-raising through documentary 302
Gay sensibility 302
Sexual Ideology 303
Camp aesthetics and cinema 303
Critical re-readings 304
Early explorations: subcuttural messages and spectator pleasures 304
Some queer films: stereotypes and characters 308
Case Study 1: Looking For Langston (Isaac Julien, UK, 1994) 309
Case Study 2: Boys Don t Cry (Kimberley Peirce, US, 1999) 311
A queer diversity 314
Conclusion: The way forward 321
Summary 322
Questions for discussion 322
Further reading 322
Further viewing 323
Resource centres 328
¦ 13 Spectacle, stereotypes and films of the African
diaspora 329
TERRI FRANCIS
Introduction 330
Stereotypes 331
Genre 334
African American film history 336
Ethnicity, race, and cinema 340
Whiteness 342
Racism 344
Spectacle 345
Case study 1: From Zora Neale Hurston Fieldwork Footage (National Film
Preservation Foundation, 1928 and 2004) 346
Case study 2: The Harder They Come (Perry Henzell, 1972) 348
Case study 3: Spike Lee s Do the Right Thing (1989) and Bamboozled (2000) 350
Am I just a spectacle?: dancing versus shuffling 353
Conclusion 354
Summary 354
Questions for discussion 355
Notes 355
Further reading 355
Further viewing 357
Resource centres 357
PART V: CINEMA, NATION AND NATIONAL IDENTITY 359
¦ 14 British cinema 360
LAWRENCE NAPPER
Defining British cinema 361
From pioneering to protection 363
Depression and war 370
Golden age to New Wave 375
Decline and revival 380
Case study 1: Brick Lane (Sarah Gavron, 2007) 385
Case study 2: Made in Dagenham (Nigel Cole, 2010) 387
CONTENTS
Case study 3: Love Actually (Richard Curtis, 2003) 390
Case study 4: Bullet Boy (Saul Dibb, 2004) 393
Conclusion 395
Summary 396
Note 396
Further reading 397
Further viewing 397
Resource centres 397
¦ 15 Indian cinema 399
LALITHA GOPALAN
Introduction 400
Production and reception conditions 401
Case study 1: Monsoon Wedding (Mira Nair, 2002) 403
Writings on Indian cinema 405
Genre and form 406
Song and dance sequences 409
Case study 2: Guru Dutt 411
Love story 413
Interval 415
Censorship 417
The woman s film 417
Foundational fictions of the post-colonial nation 419
Case study 3: Hey! Ram (Kamal Haasan, 1999) 420
Conclusion 422
Summary 422
Questions for discussion 422
Notes 423
Further reading 424
Further viewing 424
Resource centres 425
¦ 16 Latin American cinema 426
LINDA CRAIG
Introduction: beginnings 427
Melodrama 428
The New Latin American cinema 431
Case study 1: Lucía (Solas, Cuba, 1968) 434
More recent developments 436
Case study 2: Madame Satâ (Ainouz, Brazil, 2002) 438
Case study 3: Amores perros (González Iñárritu, Mexico, 2000) 439
Conclusion 442
Summary 442
Questions for discussion 443
Further reading 443
Further viewing 444
Resource centres 444
¦ 17 The Soviet montage cinema of the 1920s 445
MARK JOYCE
Introduction : why study the Soviet cinema? 446
Historical background 446
Pre-revolutionary Russian cinema 447
Soviet cinema and ideology: film as agent of change 448
Economics of the Soviet film industry 449
Form: montage 450
Other features of Soviet montage cinema 452
The key Soviet montage filmmakers of the 1920s 453
CONTENTS
Case study 1: Lev Kuleshov (1899-1970) 453
Case study 2: Sergei Eisenstein, Strike (1924); Battleship Potemkin (1925);
October (1927); Old and New (1929) 455
Case study 3: Vsevolod Pudovkin, The Mother (1926); The End of St Petersburg
(1927) 462
Case study 4: Grigori Kozintsev and Leonid Trauberg: Eccentrism of the FEKS 466
Case study 5: Alexander Dovzhenko, Arsenal (1929); Earth (1930) 467
Case study 6: Dziga Vertov, The Man with the Movie Camera (1929) 468
Case study 7: Esfir Shub, The Fall of the Romanov Dynasty (1927) 471
Audience response 472
Theoretical debates: montage versus realism 473
The 1930s and after: the decline of experimentation in the Soviet cinema 474
Conclusion 474
Summary 475
Questions for discussion 475
Notes 476
Further reading 477
Further viewing 478
Resource centres 479
Glossary 480
Bibliography 502
Index 524
|
| any_adam_object | 1 |
| author2 | Nelmes, Jill 1954- |
| author2_role | edt |
| author2_variant | j n jn |
| author_GND | (DE-588)133620433 |
| author_facet | Nelmes, Jill 1954- |
| building | Verbundindex |
| bvnumber | BV040028815 |
| classification_rvk | AP 43450 |
| ctrlnum | (OCoLC)802343132 (DE-599)BVBBV040028815 |
| dewey-full | 791.43 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.43 |
| dewey-search | 791.43 |
| dewey-sort | 3791.43 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| edition | 5. ed. |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>01800nam a2200481 c 4500</leader><controlfield tag="001">BV040028815</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20141112 </controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">120403s2012 a||| |||| 00||| eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780415582575</subfield><subfield code="c">hbk</subfield><subfield code="9">978-0-415-58257-5</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">0415582571</subfield><subfield code="9">0-415-58257-1</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780415582599</subfield><subfield code="c">pbk</subfield><subfield code="9">978-0-415-58259-9</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">0415582598</subfield><subfield code="9">0-415-58259-8</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780203824139</subfield><subfield code="9">978-0-203-82413-9</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">020382413X</subfield><subfield code="9">0-203-82413-X</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)802343132</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV040028815</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-634</subfield><subfield code="a">DE-703</subfield><subfield code="a">DE-824</subfield><subfield code="a">DE-29</subfield><subfield code="a">DE-19</subfield><subfield code="a">DE-739</subfield><subfield code="a">DE-384</subfield></datafield><datafield tag="082" ind1="0" ind2=" "><subfield code="a">791.43</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">AP 43450</subfield><subfield code="0">(DE-625)7501:</subfield><subfield code="2">rvk</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Introduction to film studies</subfield><subfield code="c">ed. by Jill Nelmes</subfield></datafield><datafield tag="250" ind1=" " ind2=" "><subfield code="a">5. ed.</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">London [u.a.]</subfield><subfield code="b">Routledge</subfield><subfield code="c">2012</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">XXV, 536 S.</subfield><subfield code="b">Ill.</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Motion pictures</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Film</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Filmwissenschaft</subfield><subfield code="0">(DE-588)4154385-3</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Film</subfield><subfield code="0">(DE-588)4017102-4</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="0">(DE-588)4151278-9</subfield><subfield code="a">Einführung</subfield><subfield code="2">gnd-content</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Filmwissenschaft</subfield><subfield code="0">(DE-588)4154385-3</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="689" ind1="1" ind2="0"><subfield code="a">Film</subfield><subfield code="0">(DE-588)4017102-4</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="1" ind2=" "><subfield code="8">1\p</subfield><subfield code="5">DE-604</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Nelmes, Jill</subfield><subfield code="d">1954-</subfield><subfield code="0">(DE-588)133620433</subfield><subfield code="4">edt</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">HBZ Datenaustausch</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024885753&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-024885753</subfield></datafield><datafield tag="883" ind1="1" ind2=" "><subfield code="8">1\p</subfield><subfield code="a">cgwrk</subfield><subfield code="d">20201028</subfield><subfield code="q">DE-101</subfield><subfield code="u">https://d-nb.info/provenance/plan#cgwrk</subfield></datafield></record></collection> |
| genre | (DE-588)4151278-9 Einführung gnd-content |
| genre_facet | Einführung |
| id | DE-604.BV040028815 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:16:27Z |
| institution | BVB |
| isbn | 9780415582575 0415582571 9780415582599 0415582598 9780203824139 020382413X |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-024885753 |
| oclc_num | 802343132 |
| open_access_boolean | |
| owner | DE-634 DE-703 DE-824 DE-29 DE-19 DE-BY-UBM DE-739 DE-384 |
| owner_facet | DE-634 DE-703 DE-824 DE-29 DE-19 DE-BY-UBM DE-739 DE-384 |
| physical | XXV, 536 S. Ill. |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Routledge |
| record_format | marc |
| spelling | Introduction to film studies ed. by Jill Nelmes 5. ed. London [u.a.] Routledge 2012 XXV, 536 S. Ill. txt rdacontent n rdamedia nc rdacarrier Motion pictures Film Filmwissenschaft (DE-588)4154385-3 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Filmwissenschaft (DE-588)4154385-3 s DE-604 Film (DE-588)4017102-4 s 1\p DE-604 Nelmes, Jill 1954- (DE-588)133620433 edt HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024885753&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Introduction to film studies Motion pictures Film Filmwissenschaft (DE-588)4154385-3 gnd Film (DE-588)4017102-4 gnd |
| subject_GND | (DE-588)4154385-3 (DE-588)4017102-4 (DE-588)4151278-9 |
| title | Introduction to film studies |
| title_auth | Introduction to film studies |
| title_exact_search | Introduction to film studies |
| title_full | Introduction to film studies ed. by Jill Nelmes |
| title_fullStr | Introduction to film studies ed. by Jill Nelmes |
| title_full_unstemmed | Introduction to film studies ed. by Jill Nelmes |
| title_short | Introduction to film studies |
| title_sort | introduction to film studies |
| topic | Motion pictures Film Filmwissenschaft (DE-588)4154385-3 gnd Film (DE-588)4017102-4 gnd |
| topic_facet | Motion pictures Film Filmwissenschaft Einführung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024885753&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT nelmesjill introductiontofilmstudies |