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Edité par Columbia University Press, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : Midtown Scholar Bookstore, Harrisburg, PA, Etats-Unis
Livre
Hardcover. Etat : Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized.
Edité par Columbia University Press, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : GreatBookPrices, Columbia, MD, Etats-Unis
Livre
Etat : New.
Edité par Columbia University Press, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : PBShop.store US, Wood Dale, IL, Etats-Unis
Livre
HRD. Etat : New. New Book. Shipped from UK. Established seller since 2000.
Edité par Columbia University Press, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : GreatBookPrices, Columbia, MD, Etats-Unis
Livre
Etat : As New. Unread book in perfect condition.
Edité par Columbia University Press, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : Kennys Bookshop and Art Galleries Ltd., Galway, GY, Irlande
Livre
Etat : New. Series: Film and Culture Series. Num Pages: 408 pages, 50 illus. BIC Classification: APFA; JFD. Category: (P) Professional & Vocational. Dimension: 229 x 152 x 27. Weight in Grams: 454. . 2011. Illustrated. Hardcover. . . . .
Edité par Columbia University Press, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : GreatBookPricesUK, Castle Donington, DERBY, Royaume-Uni
Livre
Etat : New.
Edité par Columbia University Press 2011-06-21, New York |Chichester, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : Blackwell's, London, Royaume-Uni
Livre
hardback. Etat : New. Language: ENG.
Edité par Columbia University Press, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : THE SAINT BOOKSTORE, Southport, Royaume-Uni
Livre
Hardback. Etat : New. New copy - Usually dispatched within 4 working days.
Edité par Columbia University Press, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : PBShop.store UK, Fairford, GLOS, Royaume-Uni
Livre
HRD. Etat : New. New Book. Shipped from UK. Established seller since 2000.
Edité par Columbia University Press 2011-06-21, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : Chiron Media, Wallingford, Royaume-Uni
Livre
Hardcover. Etat : New.
Edité par Columbia University Press, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : GreatBookPricesUK, Castle Donington, DERBY, Royaume-Uni
Livre
Etat : As New. Unread book in perfect condition.
Edité par Columbia University Press, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : booksXpress, Bayonne, NJ, Etats-Unis
Livre impression à la demande
Hardcover. Etat : new. This item is printed on demand.
Edité par Columbia University Press, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : Kennys Bookstore, Olney, MD, Etats-Unis
Livre
Etat : New. Series: Film and Culture Series. Num Pages: 408 pages, 50 illus. BIC Classification: APFA; JFD. Category: (P) Professional & Vocational. Dimension: 229 x 152 x 27. Weight in Grams: 454. . 2011. Illustrated. Hardcover. . . . . Books ship from the US and Ireland.
Edité par Columbia University Press, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : Lucky's Textbooks, Dallas, TX, Etats-Unis
Livre
Etat : New.
Edité par Columbia Univ Pr, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : Revaluation Books, Exeter, Royaume-Uni
Livre
Hardcover. Etat : Brand New. 390 pages. 9.25x6.50x1.00 inches. In Stock.
Edité par Columbia University Press, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : moluna, Greven, Allemagne
Livre
Etat : New. Über den AutorRosalind Galt is senior lecturer in film studies at the University of Sussex. She is the author of The New European Cinema: Redrawing the Map and coeditor of Global Art Cinema: New Theories and Histories.
Edité par Columbia University Press, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : THE SAINT BOOKSTORE, Southport, Royaume-Uni
Livre impression à la demande
Hardback. Etat : New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.
Edité par Columbia University Press, New York, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : CitiRetail, Stevenage, Royaume-Uni
Livre
Hardcover. Etat : new. Hardcover. Film culture often rejects visually rich images, treating simplicity, austerity, or even ugliness as the more provocative, political, and truly cinematic choice. Cinema may challenge traditional ideas of art, but its opposition to the decorative represents a long-standing Western aesthetic bias against feminine cosmetics, Oriental effeminacy, and primitive ornament. Inheriting this patriarchal, colonial perspective-which treats decorative style as foreign or sexually perverse-filmmakers, critics, and theorists have often denigrated colorful, picturesque, and richly patterned visions in cinema.Condemning the exclusion of the "pretty" from masculine film culture, Rosalind Galt reevaluates received ideas about the decorative impulse from early film criticism to classical and postclassical film theory. The pretty embodies lush visuality, dense mise-en-scene, painterly framing, and arabesque camera movements-styles increasingly central to world cinema. From European art cinema to the films of Wong Kar-wai and Santosh Sivan, from the experimental films of Derek Jarman to the popular pleasures of Moulin Rouge!, the pretty is a vital element of contemporary cinema, communicating distinct sexual and political identities. Inverting the logic of anti-pretty thought, Galt firmly establishes the decorative image as a queer aesthetic, uniquely able to figure cinema's perverse pleasures and cross-cultural encounters. Creating her own critical tapestry from perspectives in art theory, film theory, and philosophy, Galt reclaims prettiness as a radically transgressive style, shimmering with threads of political agency. Film culture often rejects visually rich images, treating simplicity, austerity, or even ugliness as the more provocative, political, and truly cinematic choice. Cinema may challenge traditional ideas of art, but its opposition to the decorative represents a long-standing Western aesthetic bias against feminine cosmetics, Oriental effeminacy, and primitive ornament. Inheriting this patriarchal, colonial perspective--which treats decorative style as foreign or sexually perverse--filmmakers, critics, and theorists have often denigrated colorful, picturesque, and richly patterned visions in cinema. Condemning the exclusion of the "pretty" from masculine film culture, Rosalind Galt reevaluates received ideas about the decorative impulse from early film criticism to classical and postclassical film theory. The pretty embodies lush visuality, dense mise-en-scene, painterly framing, and arabesque camera movements-styles increasingly central to world cinema. From European art cinema to the films of Wong Kar-wai and Santosh Sivan, from the experimental films of Derek Jarman to the popular pleasures of Moulin Rouge!, the pretty is a vital element of contemporary cinema, communicating distinct sexual and political identities. Inverting the logic of anti-pretty thought, Galt firmly establishes the decorative image as a queer aesthetic, uniquely able to figure cinema's perverse pleasures and cross-cultural encounters. Creating her own critical tapestry from perspectives in art theory, film theory, and philosophy, Galt reclaims prettiness as a radically transgressive style, shimmering with threads of political agency. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.
Edité par Columbia University Press, New York, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : AussieBookSeller, Truganina, VIC, Australie
Livre
Hardcover. Etat : new. Hardcover. Film culture often rejects visually rich images, treating simplicity, austerity, or even ugliness as the more provocative, political, and truly cinematic choice. Cinema may challenge traditional ideas of art, but its opposition to the decorative represents a long-standing Western aesthetic bias against feminine cosmetics, Oriental effeminacy, and primitive ornament. Inheriting this patriarchal, colonial perspective-which treats decorative style as foreign or sexually perverse-filmmakers, critics, and theorists have often denigrated colorful, picturesque, and richly patterned visions in cinema.Condemning the exclusion of the "pretty" from masculine film culture, Rosalind Galt reevaluates received ideas about the decorative impulse from early film criticism to classical and postclassical film theory. The pretty embodies lush visuality, dense mise-en-scene, painterly framing, and arabesque camera movements-styles increasingly central to world cinema. From European art cinema to the films of Wong Kar-wai and Santosh Sivan, from the experimental films of Derek Jarman to the popular pleasures of Moulin Rouge!, the pretty is a vital element of contemporary cinema, communicating distinct sexual and political identities. Inverting the logic of anti-pretty thought, Galt firmly establishes the decorative image as a queer aesthetic, uniquely able to figure cinema's perverse pleasures and cross-cultural encounters. Creating her own critical tapestry from perspectives in art theory, film theory, and philosophy, Galt reclaims prettiness as a radically transgressive style, shimmering with threads of political agency. Film culture often rejects visually rich images, treating simplicity, austerity, or even ugliness as the more provocative, political, and truly cinematic choice. Cinema may challenge traditional ideas of art, but its opposition to the decorative represents a long-standing Western aesthetic bias against feminine cosmetics, Oriental effeminacy, and primitive ornament. Inheriting this patriarchal, colonial perspective--which treats decorative style as foreign or sexually perverse--filmmakers, critics, and theorists have often denigrated colorful, picturesque, and richly patterned visions in cinema. Condemning the exclusion of the "pretty" from masculine film culture, Rosalind Galt reevaluates received ideas about the decorative impulse from early film criticism to classical and postclassical film theory. The pretty embodies lush visuality, dense mise-en-scene, painterly framing, and arabesque camera movements-styles increasingly central to world cinema. From European art cinema to the films of Wong Kar-wai and Santosh Sivan, from the experimental films of Derek Jarman to the popular pleasures of Moulin Rouge!, the pretty is a vital element of contemporary cinema, communicating distinct sexual and political identities. Inverting the logic of anti-pretty thought, Galt firmly establishes the decorative image as a queer aesthetic, uniquely able to figure cinema's perverse pleasures and cross-cultural encounters. Creating her own critical tapestry from perspectives in art theory, film theory, and philosophy, Galt reclaims prettiness as a radically transgressive style, shimmering with threads of political agency. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
Edité par Columbia University Press, 2011
ISBN 10 : 0231153465ISBN 13 : 9780231153461
Vendeur : Iridium_Books, DH, SE, Espagne
Livre
Hardcover. Etat : Good. 0231153465.