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03298cam a22005657i 4500 |
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20120103003947.0 |
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940308s1990 xxk 0|0 0 eng| |
| 020 |
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|a 9780851702452
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| 040 |
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|a HR-ZaFF
|b hrv
|c HR-ZaFF
|d HR-ZaFF
|e ppiak
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| 080 |
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|a 791.43"1900-1917"
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| 245 |
0 |
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|a Early cinema :
|b space, frame, narrative /
|c edited by Thomas Elsaesser with Adam Barker.
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| 260 |
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|a London :
|b BFI,
|c 1990.
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| 300 |
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|a 424 str. :
|b ilustr. ;
|c 23 cm
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| 650 |
0 |
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|a Motion pictures
|x History.
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| 653 |
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|a film
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| 653 |
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|a 1900-1917
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| 653 |
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|a povijest filma
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| 700 |
1 |
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|a Barker, Adam,
|e edt
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| 700 |
1 |
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|a Elsaesser, Thomas
|e edt
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| 700 |
1 |
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|a Salt, Barry
|4 ctb
|t Film form 1900-1906
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| 700 |
1 |
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|a Brewster, Ben
|4 ctb
|t Deep staging in French films 1900-1914
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| 700 |
1 |
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|a Gunning, Tom
|4 ctb
|t The cinema of attractions: early film, its spectator and the Avant-Garde
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| 700 |
1 |
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|a Vaughan, Dai
|4 ctb
|t Let there be Lumiere
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| 700 |
1 |
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|a Gaudreault, André
|4 ctb
|t Film, narrative, narration: the cinema of the Lumiere Brothers
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| 700 |
1 |
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|a deCordova, Richard
|4 ctb
|t From Lumiere to Pathé: the break-up of perspectival space
|
| 700 |
1 |
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|a Gunning, Tom
|4 ctb
|t Non-continuity, continuity, discontinuity: a theory of genres in early films
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| 700 |
1 |
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|a Gunning, Tom
|4 ctb
|t 'Primitive' cinema: a frame up? Or, the trick's on us
|
| 700 |
1 |
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|a Bottomore, Stephen
|4 ctb
|t Shots in the dark - the real origins of film editing
|
| 700 |
1 |
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|a Gaudreault, André
|4 ctb
|t The infringement of copyright laws and its effects (1900-1906)
|
| 700 |
1 |
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|a Musser, Charles
|4 ctb
|t The travel genre in 1903-1904: moving towards fictional narrative
|
| 700 |
1 |
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|a Gaudreault, André
|4 ctb
|t Detours in film narrative: the development of cross-cutting
|
| 700 |
1 |
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|a Chanan, Michael
|4 ctb
|t Economic conditions of early cinema
|
| 700 |
1 |
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|a Staiger, Janet
|4 ctb
|t Combination and litigarion: structures of US film distribution, 1896-1917
|
| 700 |
1 |
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|a Loughney, Patrick G.
|4 ctb
|t In the beginning was the word: six pre-Griffith motion picture scenarios
|
| 700 |
1 |
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|a Burch, Noëll
|4 ctb
|t A primitive mode of representation?
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| 700 |
1 |
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|a Hansen, Miriam
|4 ctb
|t early cinema - whose public sphere?
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| 700 |
1 |
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|a Tsivian, Yuri
|4 ctb
|t Some historical footnotes to the Kuleshov experiment
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| 700 |
1 |
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|a Musser, Charles
|4 ctb
|t The Nickelodeon era begins: establishing framework for Hollywood's mode of representation
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| 700 |
1 |
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|a Gaudreault, André
|4 ctb
|t Showing and telling: image and word in early cinema
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| 700 |
1 |
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|a Bronlow, Kevin
|4 ctb
|t Silent films - What was the eight speed?
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| 700 |
1 |
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|a Brewster, Ben
|4 ctb
|t A scene at the 'movies'
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| 700 |
1 |
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|a Friedberg, Anne
|4 ctb
|t 'A properly adjusted window': vision and sanity in D. W. Griffith's 1908-1909 biograph films
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| 700 |
1 |
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|a Gunning, Tom
|4 ctb
|t Weaving a narrative: style and economic background in Griffith's biograph films
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| 700 |
1 |
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|a Aumont, Jacques
|4 ctb
|t Griffith - the frame, the figure
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| 700 |
1 |
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|a Bellour, Raymond
|4 ctb
|t To alternate/to narrate
|
| 700 |
1 |
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|a Fullerton, John
|4 ctb
|t Spatial and temporal articulation in pre-classical Swedish film
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| 700 |
1 |
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|a Hunt, Leon
|4 ctb
|t 'The student of Prague': division and codification of space
|
| 710 |
2 |
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|a British Film Institute.
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| 942 |
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|c KNJ
|h EC16.3
|i EARLY
|6 EC163_EARLY
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| 999 |
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|c 248940
|d 248939
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