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More information about this seller Contact this seller 6. Language: Italian. Il film non serve solo come opera storica per l'uso di una analisi storica, benche porti alla gente moderna un nuovo resoconto analitico delle proprie tradizioni e valori culturali; inoltre aiuta a porre nuove domande nel conteso sociale e quindi attraverso l'esperienza del tempo storico, esperienza "di seconda mano," aiuta a concepire e localizzare il nostro cerchio culturale nel sistema complesso.

Particolarmente attraverso la moda come lingua, attraverso l'abito come prolungamento della pelle si mostra attraverso un altro canale il processo ed l' avanzamento. More information about this seller Contact this seller 7. Published by Alianza Editorial.

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Published by Simon and Schuster From: Gadzooks! Lompoc, CA, U. About this Item: Simon and Schuster, Condition: Used: Very Good. Bright, unmarked pages and firm binding. Paper cover is clean and bright, shows a single short corner crease.

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This remains a very good, sturdy copy. Seller Inventory f. More information about this seller Contact this seller 9. Part of the Cambridge Film Classics series. First paperback edition. Fine in pictorial wraps. More information about this seller Contact this seller Published by Praeger Publishers About this Item: Praeger Publishers, Published by Cambridge University Press About this Item: Cambridge University Press, Size: 8vo - over 7.

Internally clean. Binding firm. Top edge slightly foxed. Covers slightly creased.


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Films Jean Luc Godard, First Edition

Nice and clean throughout with no marks or inscriptions. Excellent value for money. No Jacket. Seller Inventory ATL Published by State University of New York Fine copy in hardcover. Signed by Dixon. Signed by Author s. A paperback book in near very good condition, dated Soft Cover. Smooth light peach wraps w. Index, bibliography, biographical sketches of Godard and Ann-Marie Mieville, shot breakdown w.


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Foreword by Stanley Cavell. A dozen papers, with notes, on the film and its controversial reception. Curl to front wrap, light edgewear to extreme corners of wraps. Binding tight and square, wraps and interior pages bright and unmarked. Softcover volume is new, still in shrinkwrap.

Seller Inventory ABE Published by Manchester University Press Galway, Ireland. About this Item: Manchester University Press, This volume offers a new interpretation of the whole of Godard's career in cinema.

Publications for year 2016

BFF , Marshall BFF , Schulberg 6. In this position, Schulberg coordinated Marshall Plan films for all over Europe from the headquarters in Paris. The U. A secondary aim, however, has been the re-orientation of German short-film producers. Here, as in so many other fields, we have bumped into the traditional German lack of political and social initiative.

On behalf of these licensees, it must be said that the Nazi years have left them with a high distrust of films with "Tendenz" or political tendencies, be they left-wing, right-wing, or straight-down-the-center He explained that several interesting documentary films, for example, about the German Revolution of , were being produced then.

As already mentioned, Stuart Schulberg produced his first movie Hunger for the de-Nazification and re-education program in Germany. In a narrower sense, it is not yet a Marshall Plan film. It opens with a montage of hungry people in different cities.

Propaganda Films for the Marshall Plan and Soviet Counter-Propaganda | Hausarbeiten publizieren

What the audience would suppose is Germany, are actually cities in various European countries. The unpleasant footage aimed at showing German people that they were not the only ones who had to suffer, but that people all over Europe were starving. The film suggests that the Nazi machinery of war is to blame for the whole situation cf. The movie was pushing its message too fast and too hard for the German audience at that time, and this also shows the need for sensitivity on the part of the filmmakers cf.

BFF , 9. The film was heavily criticized by the German population, which was fast to list a number of other accusations against the film and policymakers: Germans argued that they did not get enough money to pay the prices for food, that their best agricultural land had been given to Poland after the war, and that the Americans should rather spend time on bringing food than on making propaganda movies.

Only four weeks after its release, Hunger was pulled from distribution after having been shown in only a quarter of the cinemas in the U. In the future, only extracts which would not lead to such emotional outbursts as before would be shown to the German public cf. In conclusion, Hunger was a complete failure.

Schulberg did not find the right tone, agenda, or audiovisual techniques that would work with a newly de-Nazified German audience. Talking about the right propaganda technique, Schulberg later acknowledged:. Taste and subtlety are important elements of propaganda technique. An unwritten ECA law stipulates that the Marshall Plan — and other informational objectives — will not be mentioned more than twice in a one-reeler and three times in a two-reeler. German people were still very sensitive to direct propaganda because of their experience with minister of propaganda Joseph Goebbels during the Third Reich.

Therefore, a direct indoctrination had to be avoided cf. BFF , Mehring Geschichte Europa - and.