Bernard Gaspard

BERTRAND, Aloysius: Gaspard de la Nuit. Fantaisies a la maniere de Callot et de Rembrandt. [ Livre dedicace par le prefacier ] La Colombe 1962 ; weicher Einband / soft cover

Preface, introduction et notes de Jean Palou, 1 vol. in-8 br., coll. Litterature et Tradition, La Colombe, 1962, 235 pp. Bon exemplaire. Bel envoi de Jean Palou a Jean Bernard. Il s'agit du grand medecin, poete, humaniste, grand resistant, membre de l'Academie Francaise, le professeur Jean Bernard. Bon exemplaire de cet ouvrage peu courant, et agremente d'un envoi de Jean Palou a un dedicataire prestigieux. langue: Francais no

[SW: 04]

Details

Bogarde, Dirk: A Postillion Struck by Lightning. With an Index. Great Britain, London, Penguin Books, 1988. ISBN: 0140105387
Sehr guter Zustand. Aus der Bibliothek der Gräfin Ledebur. Very Good. Dirk Bogarde's first volume of autobiography, published originally in 1977, traces the first steps of a young actor who went on to achieve worldwide acclaim. It details not only his early stage experiences, but also some evocative scenes from his childhood in Sussex, where his family lived in a cottage in the South Downs. Later came a technical college in Glasgow, an apprenticeship in printing, an art education at Chelsea, and finally a scholarship to the Old Vic - just as war broke out. - wikipedia--wiki-Dirk_Bogarde: Sir Dirk Bogarde (28 March 1921 - 8 May 1999) was an English actor and novelist. Initially a matinee idol in such films as Doctor in the House (1954) and other Rank Organisation pictures, Bogarde later acted in art-house films like Death in Venice (1971). He also wrote several volumes of autobiography. Early years Bogarde was born Derek Jules Gaspard Ulric Niven van den Bogaerde in a nursing home at 12 Hemstal Road,[1] West Hampstead, London, of mixed Flemish, Dutch and Scottish ancestry, and baptised on 30 October at St. Mary's Church, Kilburn.[1] His father, Ulric van den Bogaerde (born in Perry Barr, Birmingham), was the art editor of The Times and his mother, Margaret Niven, was a former actress. He attended University College School,[2] the former Allan Glen's School in Glasgow (a time he described in his autobiography as unhappy, although others have disputed his account)[3] and later studied at the Chelsea College of Art and Design. War service: Bogarde served in World War II, being commissioned into the Queen's Royal Regiment in 1943. He reached the rank of major and served in both the European and Pacific theatres, principally as an intelligence officer. He claimed to have been one of the first Allied officers in April 1945 to reach the Bergen-Belsen concentration camp in Germany, an experience that had the most profound effect on him and about which he found it difficult to speak for many years afterward. As John Carey has summed up with regard to John Coldstream's authorised biography however, "it is virtually impossible that he (Bogarde) saw Belsen or any other camp. Things he overheard or read seem to have entered his imagination and been mistaken for lived experience."[4] Coldstream's analysis seems to conclude that this was indeed the case.[5] Nonetheless, the horror and revulsion at the cruelty and inhumanity that he claimed to have witnessed still left him with a deep-seated hostility towards Germany; in the late-1980s he wrote that he would disembark from a lift rather than ride with a German.[6] Nevertheless, three of his more memorable film roles were as Germans, one of them as a former SS officer in The Night Porter.[7] He was most vocal, towards the end of his life, on the issue of voluntary euthanasia, of which he became a staunch proponent after witnessing the protracted death of his lifelong partner and manager Anthony Forwood (the former husband of actress Glynis Johns) in 1988. He gave an interview to John Hofsess, London executive director of the Voluntary Euthanasia Society: "My views were formulated as a 24-year-old officer in Normandy ... On one occasion the jeep ahead hit a mine ... Next thing I knew, there was this chap in the long grass beside me. A bloody bundle, shrapnel-ripped, legless, one arm only. The one arm reached out to me, white eyeballs wide, unseeing, in the bloody mask that had been a face. A gurgling voice said, 'Help. Kill me.' With shaking hands I reached for my small pouch to load my revolver ... I had to look for my bullets -- by which time somebody else had already taken care of him. I heard the shot. I still remember that gurgling sound. A voice pleading for death" ... "During the war I saw more wounded men being 'taken care of' than I saw being rescued. Because sometimes you were too far from a dressing station, sometimes you couldn't get them out. And they were pumping blood or whatever; they were in such a wreck, the only thing to do was to shoot them. And they were, so don't think they weren't. That hardens you: You get used to the fact that it can happen. And that it is the only sensible thing to do". Film career: His London West End theatre-acting debut was in 1939, with stage name "Derek Bogaerde" in J. B. Priestley's play Cornelius. After the war his agent renamed him "Dirk Bogarde", and his good looks helped him begin a career as a film actor, contracted to The Rank Organisation.[8] During the 1950s, Bogarde came to prominence playing a hoodlum who shoots and kills a police constable in The Blue Lamp (1950) co-starring Jack Warner and Bernard Lee; by portraying a murderer who befriends a young boy played by Jon Whiteley in Hunted (aka The Stranger in Between) (1952); in Appointment in London (1953) as a young airman in Bomber Command who, against orders, joins a major offensive against the Germans; The Sea Shall Not Have Them (1954), playing a flight sergeant trapped in a dinghy with Michael Redgrave; Doctor in the House (1954), as a medical student, in a film that made Bogarde one of the most popular British stars of the 1950s, and co-starring Kenneth More, Donald Sinden and James Robertson Justice as their crabby mentor; The Sleeping Tiger (1954), playing a neurotic criminal with co-star Alexis Smith, and Bogarde's first film for American expatriate director Joseph Losey; Doctor at Sea (1955), co-starring Brigitte Bardot in one of her first film roles; Cast a Dark Shadow (1955), as a man who marries women for money and then murders them; The Spanish Gardener (1956), co-starring Cyril Cusack, Jon Whiteley and Bernard Lee; Doctor at Large (1957), another entry in the "Doctor series", co-starring later Bond girl Shirley Eaton; A Tale of Two Cities (1958), a faithful retelling of Charles Dickens' classic; The Doctor's Dilemma (1959), based on a play by George Bernard Shaw and co-starring Leslie Caron and Robert Morley, (not a part of the "Doctor series"); and Libel (1959), playing two separate roles and co-starring Olivia de Havilland. Bogarde quickly became a matinee idol and was Britain's number one box office draw of the 1950s, gaining the title of "The Matinee Idol of the Odeon". After leaving the Rank Organisation in the early 1960s, Bogarde abandoned his heart-throb image for more challenging parts, such as barrister Melville Farr in Victim (1961), directed by Basil Dearden; decadent valet Hugo Barrett in The Servant (1963), directed by Joseph Losey and written by Harold Pinter; television reporter Robert Gold in Darling (1965), directed by John Schlesinger; Stephen, a bored Oxford University professor, in Losey's Accident, (1967) also written by Pinter; German industrialist Frederick Bruckman in Luchino Visconti's The Damned (1969); the ex-Nazi, Max Aldorfer, in the chilling and controversial The Night Porter (1974) directed by Liliana Cavani; and, most notably, as Gustav von Aschenbach in Death in Venice (1971) also directed by Visconti. In some of his other roles during the 1960s and 1970s, Bogarde played opposite renowned stars, yet several of the films were of uneven quality. Some of these movies included The Angel Wore Red (1960), playing an unfrocked priest who falls in love with cabaret entertainer Ava Gardner during the Spanish Civil War; Song Without End (1960), playing Hungarian composer and virtuoso pianist Franz Liszt, a flawed film made under the initial direction of Charles Vidor (who died during shooting), and completed by Bogarde's friend George Cukor, in Bogarde's only disappointing foray into Hollywood; the campy The Singer Not the Song (1961), as a Mexican bandit co-starring John Mills as a priest; H.M.S. Defiant (aka Damn the Defiant!) (1962), playing sadistic Lieutenant Scott-Padget, in which Bogarde practically steals the movie from his co-star Sir Alec Guinness; I Could Go On Singing (1963), co-starring Judy Garland in her final screen role; The Mind Benders (1963), ...

9. Auflage. 268 (8) Seiten mit vielen Abbildungen. Solid, clean and tight paperback. 18 cm. Taschenbuch. Kartoniert.

[SW: DIRK BOGARDE MOVIE INDUSTRY FILMS MOVIE ACTORS HOLLYWOOD FILMS STARS BIOGRAPHIES / AUTOBIOGRAPHIES OF STARS, Autobiography - General, Englische Literatur des 20. Jahrhunderts, Anglistik, Englische Sprach- und Literaturwissenschaft, Geschichte, Gesellschaft, Amerikanische Film des 20. Jahrhunderts, Politik, Amerikanistik, Originalsprache, Book is written in english, Biographie, Lebensgeschichte, Lebensweg, Erinnerungen, Memoiren, Schilderungen, Karriere, Geschichte, Biografien Biografie, Biographien, Persönlichkeiten, Persönlichkeit, Historische Hilfswissenschaften, Geschichte, Kulturgeschichte, Autobiographische Schriften, Autobiografie, Autobiografien, Autobiographien, Autobiographie, Drittes Reich, Erlebnisbericht, Politische Identität, Zeitgeschichte, Nicht übersetztes Buch]

Details

Bogarde, Dirk: Backcloth. With an Index. Great Britain, London, Penguin Books, 1987. ISBN: 0140089675
Sehr guter Zustand. Aus der Bibliothek der Gräfin Ledebur. Very Good Condition. The fourth and final volume of autobiography from Dirk Bogarde, in which he retraces his life from childhood to the present day. Like the earlier volumes, it is a very personal account of his life behind the scenes, and an affectionate, amusing and touching review of an extraordinary life. - wikipedia--wiki-Dirk_Bogarde: Sir Dirk Bogarde (28 March 1921 - 8 May 1999) was an English actor and novelist. Initially a matinee idol in such films as Doctor in the House (1954) and other Rank Organisation pictures, Bogarde later acted in art-house films like Death in Venice (1971). He also wrote several volumes of autobiography. Early years Bogarde was born Derek Jules Gaspard Ulric Niven van den Bogaerde in a nursing home at 12 Hemstal Road,[1] West Hampstead, London, of mixed Flemish, Dutch and Scottish ancestry, and baptised on 30 October at St. Mary's Church, Kilburn.[1] His father, Ulric van den Bogaerde (born in Perry Barr, Birmingham), was the art editor of The Times and his mother, Margaret Niven, was a former actress. He attended University College School,[2] the former Allan Glen's School in Glasgow (a time he described in his autobiography as unhappy, although others have disputed his account)[3] and later studied at the Chelsea College of Art and Design. War service: Bogarde served in World War II, being commissioned into the Queen's Royal Regiment in 1943. He reached the rank of major and served in both the European and Pacific theatres, principally as an intelligence officer. He claimed to have been one of the first Allied officers in April 1945 to reach the Bergen-Belsen concentration camp in Germany, an experience that had the most profound effect on him and about which he found it difficult to speak for many years afterward. As John Carey has summed up with regard to John Coldstream's authorised biography however, "it is virtually impossible that he (Bogarde) saw Belsen or any other camp. Things he overheard or read seem to have entered his imagination and been mistaken for lived experience."[4] Coldstream's analysis seems to conclude that this was indeed the case.[5] Nonetheless, the horror and revulsion at the cruelty and inhumanity that he claimed to have witnessed still left him with a deep-seated hostility towards Germany; in the late-1980s he wrote that he would disembark from a lift rather than ride with a German.[6] Nevertheless, three of his more memorable film roles were as Germans, one of them as a former SS officer in The Night Porter.[7] He was most vocal, towards the end of his life, on the issue of voluntary euthanasia, of which he became a staunch proponent after witnessing the protracted death of his lifelong partner and manager Anthony Forwood (the former husband of actress Glynis Johns) in 1988. He gave an interview to John Hofsess, London executive director of the Voluntary Euthanasia Society: "My views were formulated as a 24-year-old officer in Normandy ... On one occasion the jeep ahead hit a mine ... Next thing I knew, there was this chap in the long grass beside me. A bloody bundle, shrapnel-ripped, legless, one arm only. The one arm reached out to me, white eyeballs wide, unseeing, in the bloody mask that had been a face. A gurgling voice said, 'Help. Kill me.' With shaking hands I reached for my small pouch to load my revolver ... I had to look for my bullets -- by which time somebody else had already taken care of him. I heard the shot. I still remember that gurgling sound. A voice pleading for death" ... "During the war I saw more wounded men being 'taken care of' than I saw being rescued. Because sometimes you were too far from a dressing station, sometimes you couldn't get them out. And they were pumping blood or whatever; they were in such a wreck, the only thing to do was to shoot them. And they were, so don't think they weren't. That hardens you: You get used to the fact that it can happen. And that it is the only sensible thing to do". Film career: His London West End theatre-acting debut was in 1939, with stage name "Derek Bogaerde" in J. B. Priestley's play Cornelius. After the war his agent renamed him "Dirk Bogarde", and his good looks helped him begin a career as a film actor, contracted to The Rank Organisation.[8] During the 1950s, Bogarde came to prominence playing a hoodlum who shoots and kills a police constable in The Blue Lamp (1950) co-starring Jack Warner and Bernard Lee; by portraying a murderer who befriends a young boy played by Jon Whiteley in Hunted (aka The Stranger in Between) (1952); in Appointment in London (1953) as a young airman in Bomber Command who, against orders, joins a major offensive against the Germans; The Sea Shall Not Have Them (1954), playing a flight sergeant trapped in a dinghy with Michael Redgrave; Doctor in the House (1954), as a medical student, in a film that made Bogarde one of the most popular British stars of the 1950s, and co-starring Kenneth More, Donald Sinden and James Robertson Justice as their crabby mentor; The Sleeping Tiger (1954), playing a neurotic criminal with co-star Alexis Smith, and Bogarde's first film for American expatriate director Joseph Losey; Doctor at Sea (1955), co-starring Brigitte Bardot in one of her first film roles; Cast a Dark Shadow (1955), as a man who marries women for money and then murders them; The Spanish Gardener (1956), co-starring Cyril Cusack, Jon Whiteley and Bernard Lee; Doctor at Large (1957), another entry in the "Doctor series", co-starring later Bond girl Shirley Eaton; A Tale of Two Cities (1958), a faithful retelling of Charles Dickens' classic; The Doctor's Dilemma (1959), based on a play by George Bernard Shaw and co-starring Leslie Caron and Robert Morley, (not a part of the "Doctor series"); and Libel (1959), playing two separate roles and co-starring Olivia de Havilland. Bogarde quickly became a matinee idol and was Britain's number one box office draw of the 1950s, gaining the title of "The Matinee Idol of the Odeon". After leaving the Rank Organisation in the early 1960s, Bogarde abandoned his heart-throb image for more challenging parts, such as barrister Melville Farr in Victim (1961), directed by Basil Dearden; decadent valet Hugo Barrett in The Servant (1963), directed by Joseph Losey and written by Harold Pinter; television reporter Robert Gold in Darling (1965), directed by John Schlesinger; Stephen, a bored Oxford University professor, in Losey's Accident, (1967) also written by Pinter; German industrialist Frederick Bruckman in Luchino Visconti's The Damned (1969); the ex-Nazi, Max Aldorfer, in the chilling and controversial The Night Porter (1974) directed by Liliana Cavani; and, most notably, as Gustav von Aschenbach in Death in Venice (1971) also directed by Visconti. In some of his other roles during the 1960s and 1970s, Bogarde played opposite renowned stars, yet several of the films were of uneven quality. Some of these movies included The Angel Wore Red (1960), playing an unfrocked priest who falls in love with cabaret entertainer Ava Gardner during the Spanish Civil War; Song Without End (1960), playing Hungarian composer and virtuoso pianist Franz Liszt, a flawed film made under the initial direction of Charles Vidor (who died during shooting), and completed by Bogarde's friend George Cukor, in Bogarde's only disappointing foray into Hollywood; the campy The Singer Not the Song (1961), as a Mexican bandit co-starring John Mills as a priest; H.M.S. Defiant (aka Damn the Defiant!) (1962), playing sadistic Lieutenant Scott-Padget, in which Bogarde practically steals the movie from his co-star Sir Alec Guinness; I Could Go On Singing (1963), co-starring Judy Garland in her final screen role; The Mind Benders (1963), an off-beat film where Bogarde plays an Oxford professor conducting sensory deprivation experiments at Oxford University (precursor to Altered States (1980)); Hot Enough for June, (aka "Agent...

12. Auflage. 313 (7) Seiten mit einem Titelporträt und mit vielen Abbildungen. Solid, clean and tight paperback. 18 cm. Taschenbuch. Kartoniert.

[SW: DIRK BOGARDE MOVIE INDUSTRY FILMS MOVIE ACTORS HOLLYWOOD FILMS STARS BIOGRAPHIES / AUTOBIOGRAPHIES OF STARS, Autobiography - General, Englische Literatur des 20. Jahrhunderts, Anglistik, Englische Sprach- und Literaturwissenschaft, Geschichte, Gesellschaft, Amerikanische Film des 20. Jahrhunderts, Politik, Amerikanistik, Originalsprache, Book is written in english, Biographie, Lebensgeschichte, Lebensweg, Erinnerungen, Memoiren, Schilderungen, Karriere, Geschichte, Biografien Biografie, Biographien, Persönlichkeiten, Persönlichkeit, Historische Hilfswissenschaften, Geschichte, Kulturgeschichte, Autobiographische Schriften, Autobiografie, Autobiografien, Autobiographien, Autobiographie, Drittes Reich, Erlebnisbericht, Politische Identität, Zeitgeschichte]

Details

Bogarde, Dirk: A Period of Adjustment. A Novel. Great Britain, London, Penguin Books, 1995. ISBN: 0140237453
Sehr guter Zustand. Aus der Bibliothek der Gräfin Ledebur. Very Good. William Caldicott has travelled to France to uncover the mystery of his brother James's disappearance. Having learnt the truth, William also discovers that he has inherited the lease to Jericho, James's Provencal house. This book is a sequel to the novel "Jericho". - wikipedia--wiki-Dirk_Bogarde: Sir Dirk Bogarde (28 March 1921 - 8 May 1999) was an English actor and novelist. Initially a matinee idol in such films as Doctor in the House (1954) and other Rank Organisation pictures, Bogarde later acted in art-house films like Death in Venice (1971). He also wrote several volumes of autobiography. Early years Bogarde was born Derek Jules Gaspard Ulric Niven van den Bogaerde in a nursing home at 12 Hemstal Road,[1] West Hampstead, London, of mixed Flemish, Dutch and Scottish ancestry, and baptised on 30 October at St. Mary's Church, Kilburn.[1] His father, Ulric van den Bogaerde (born in Perry Barr, Birmingham), was the art editor of The Times and his mother, Margaret Niven, was a former actress. He attended University College School,[2] the former Allan Glen's School in Glasgow (a time he described in his autobiography as unhappy, although others have disputed his account)[3] and later studied at the Chelsea College of Art and Design. War service: Bogarde served in World War II, being commissioned into the Queen's Royal Regiment in 1943. He reached the rank of major and served in both the European and Pacific theatres, principally as an intelligence officer. He claimed to have been one of the first Allied officers in April 1945 to reach the Bergen-Belsen concentration camp in Germany, an experience that had the most profound effect on him and about which he found it difficult to speak for many years afterward. As John Carey has summed up with regard to John Coldstream's authorised biography however, "it is virtually impossible that he (Bogarde) saw Belsen or any other camp. Things he overheard or read seem to have entered his imagination and been mistaken for lived experience."[4] Coldstream's analysis seems to conclude that this was indeed the case.[5] Nonetheless, the horror and revulsion at the cruelty and inhumanity that he claimed to have witnessed still left him with a deep-seated hostility towards Germany; in the late-1980s he wrote that he would disembark from a lift rather than ride with a German.[6] Nevertheless, three of his more memorable film roles were as Germans, one of them as a former SS officer in The Night Porter.[7] He was most vocal, towards the end of his life, on the issue of voluntary euthanasia, of which he became a staunch proponent after witnessing the protracted death of his lifelong partner and manager Anthony Forwood (the former husband of actress Glynis Johns) in 1988. He gave an interview to John Hofsess, London executive director of the Voluntary Euthanasia Society: "My views were formulated as a 24-year-old officer in Normandy ... On one occasion the jeep ahead hit a mine ... Next thing I knew, there was this chap in the long grass beside me. A bloody bundle, shrapnel-ripped, legless, one arm only. The one arm reached out to me, white eyeballs wide, unseeing, in the bloody mask that had been a face. A gurgling voice said, 'Help. Kill me.' With shaking hands I reached for my small pouch to load my revolver ... I had to look for my bullets -- by which time somebody else had already taken care of him. I heard the shot. I still remember that gurgling sound. A voice pleading for death" ... "During the war I saw more wounded men being 'taken care of' than I saw being rescued. Because sometimes you were too far from a dressing station, sometimes you couldn't get them out. And they were pumping blood or whatever; they were in such a wreck, the only thing to do was to shoot them. And they were, so don't think they weren't. That hardens you: You get used to the fact that it can happen. And that it is the only sensible thing to do". Film career: His London West End theatre-acting debut was in 1939, with stage name "Derek Bogaerde" in J. B. Priestley's play Cornelius. After the war his agent renamed him "Dirk Bogarde", and his good looks helped him begin a career as a film actor, contracted to The Rank Organisation.[8] During the 1950s, Bogarde came to prominence playing a hoodlum who shoots and kills a police constable in The Blue Lamp (1950) co-starring Jack Warner and Bernard Lee; by portraying a murderer who befriends a young boy played by Jon Whiteley in Hunted (aka The Stranger in Between) (1952); in Appointment in London (1953) as a young airman in Bomber Command who, against orders, joins a major offensive against the Germans; The Sea Shall Not Have Them (1954), playing a flight sergeant trapped in a dinghy with Michael Redgrave; Doctor in the House (1954), as a medical student, in a film that made Bogarde one of the most popular British stars of the 1950s, and co-starring Kenneth More, Donald Sinden and James Robertson Justice as their crabby mentor; The Sleeping Tiger (1954), playing a neurotic criminal with co-star Alexis Smith, and Bogarde's first film for American expatriate director Joseph Losey; Doctor at Sea (1955), co-starring Brigitte Bardot in one of her first film roles; Cast a Dark Shadow (1955), as a man who marries women for money and then murders them; The Spanish Gardener (1956), co-starring Cyril Cusack, Jon Whiteley and Bernard Lee; Doctor at Large (1957), another entry in the "Doctor series", co-starring later Bond girl Shirley Eaton; A Tale of Two Cities (1958), a faithful retelling of Charles Dickens' classic; The Doctor's Dilemma (1959), based on a play by George Bernard Shaw and co-starring Leslie Caron and Robert Morley, (not a part of the "Doctor series"); and Libel (1959), playing two separate roles and co-starring Olivia de Havilland. Bogarde quickly became a matinee idol and was Britain's number one box office draw of the 1950s, gaining the title of "The Matinee Idol of the Odeon". After leaving the Rank Organisation in the early 1960s, Bogarde abandoned his heart-throb image for more challenging parts, such as barrister Melville Farr in Victim (1961), directed by Basil Dearden; decadent valet Hugo Barrett in The Servant (1963), directed by Joseph Losey and written by Harold Pinter; television reporter Robert Gold in Darling (1965), directed by John Schlesinger; Stephen, a bored Oxford University professor, in Losey's Accident, (1967) also written by Pinter; German industrialist Frederick Bruckman in Luchino Visconti's The Damned (1969); the ex-Nazi, Max Aldorfer, in the chilling and controversial The Night Porter (1974) directed by Liliana Cavani; and, most notably, as Gustav von Aschenbach in Death in Venice (1971) also directed by Visconti. In some of his other roles during the 1960s and 1970s, Bogarde played opposite renowned stars, yet several of the films were of uneven quality. Some of these movies included The Angel Wore Red (1960), playing an unfrocked priest who falls in love with cabaret entertainer Ava Gardner during the Spanish Civil War; Song Without End (1960), playing Hungarian composer and virtuoso pianist Franz Liszt, a flawed film made under the initial direction of Charles Vidor (who died during shooting), and completed by Bogarde's friend George Cukor, in Bogarde's only disappointing foray into Hollywood; the campy The Singer Not the Song (1961), as a Mexican bandit co-starring John Mills as a priest; H.M.S. Defiant (aka Damn the Defiant!) (1962), playing sadistic Lieutenant Scott-Padget, in which Bogarde practically steals the movie from his co-star Sir Alec Guinness; I Could Go On Singing (1963), co-starring Judy Garland in her final screen role; The Mind Benders (1963), an off-beat film where Bogarde plays an Oxford professor conducting sensory deprivation experiments at Oxford University (precursor to Altered States (1980)); Hot Enough for June, (aka "Agent 8¾") (1964), a James Bond-type spy ...

4. Auflage. 279 Seiten mit vielen Abbildungen. Solid, clean and tight paperback. 18 cm. Taschenbuch. Kartoniert.

[SW: Englische Literatur des 20. Jahrhunderts, Anglistik, Englische Sprach- und Literaturwissenschaft, Geschichte, Gesellschaft, Amerikanische Film des 20. Jahrhunderts, Politik, Originalsprache, Book is written in english, Lebensgeschichte, Lebensweg, Karriere, Geschichte, Persönlichkeit, Kulturgeschichte, Erlebnisbericht, Politische Identität, Zeitgeschichte, Nicht übersetztes Buch]

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