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Taking Care of Things: Evolution in the Treatment of a Western Theme, 1947-1957
by D. J. Reynolds When Carl Foreman wrote the screenplay for Fred Zinnemann's ...

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Return to "The Naked City"
by Andrew O Thompson Mark Dillon ''There are eight million stories in the nake...

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Photographing "Days of Heaven"
by Nestor Almendros As a cameraman, I am drawn naturally to the works of visu...

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French Silent Cinema
Richard Abel In 1907, the French press repeatedly erupted in astonishment ove...

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Laura Truffaut on Nestor Almendros
by Laura Truffaut, she is a doctoral candidate in comparative literature at the ...

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The Engineer of Modern Perplexity: An Interview with Edward Yang
Robert Sklar When you think of a contemporary new-wave cinema movement often h...

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Dark Visions of Japanese Film Noir
铃木清顺《杀手烙印》(1967) Suzuki Seijun’s Branded to Kill (1967) 作者:宮...

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The Preservation of Color Films
American Cinematographer, (July/August 1981) by Richard Patterson In respon...

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With Friends Like These...
By Michael Goldman American Cinematographer 2010 October,关于The Social Networ...

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USA vs. Paramount - Final Decree
United States District Court, Southern District ...

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Nudity Rider
以下是一份关于裸体镜头表演的合同附加条款范文。 The provisions set forth below s...

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Dust and Danger at Fort Apache
by George Turner FORT APACHE IS A WALLOPING GOOD WESTERN, A PRIME EXample of ...

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Confessions of a Book Reviewer
George Orwell 1946 奥威尔名文,中译随处可见。 In a cold but stuffy bed-sitti...

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Lighting for Technicolor Motion Pictures
by C. W. HANDLEY 1935 The introduction of the Technicolor three-color process o...

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Interview with Jia Zhang-ke by Dudley Andrew
Dudley Andrew is R. Selden Rose Professor of Film and Comparative Literature at...

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Filming Lillian Gish
by Anthony Slide In 1924, Joseph Hergesheimer wrote of Lillian Gish, "You h...

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Coppola on Cuban Film
On December 2, 1975, Robert Scheer interviewed Francis Ford Coppola in San Fra...

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The Philosophical Limits of Film
Bruce Russell 2000 In this discussion I will argue that film can vividly intro...

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The New Visual Idiom
By Nat Sobel 1947 How MANY OF us ever withdraw from our daily preoccupations ...
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