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Paperback. Zustand: Very Good. No Jacket. Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.
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Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.
Anbieter: PBShop.store UK, Fairford, GLOS, Vereinigtes Königreich
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In den WarenkorbPAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.
PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.
Sprache: Englisch
Verlag: Columbia University Press, 2015
ISBN 10: 0231174594 ISBN 13: 9780231174596
Anbieter: Kennys Bookstore, Olney, MD, USA
Zustand: New. Series: Short Cuts. Num Pages: 144 pages, 6 b&w. BIC Classification: APF. Category: (P) Professional & Vocational. Dimension: 153 x 199 x 12. Weight in Grams: 224. . 2015. Paperback. . . . . Books ship from the US and Ireland.
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In den WarenkorbPaperback. Zustand: Brand New. 144 pages. 7.75x6.00x0.50 inches. In Stock.
Sprache: Englisch
Verlag: Columbia University Press|Wallflower Press, 2015
ISBN 10: 0231174594 ISBN 13: 9780231174596
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In den WarenkorbKartoniert / Broschiert. Zustand: New. Explores artistic choices in cinema exhibition, focusing on film theaters, film festivals, and film archivesThis book explores artistic choices in the field of cinema exhibition, focusing on film theatres, film festivals, and film archives, setting the .
Sprache: Englisch
Verlag: Columbia University Press, Wallflower Press Jul 2015, 2015
ISBN 10: 0231174594 ISBN 13: 9780231174596
Anbieter: AHA-BUCH GmbH, Einbeck, Deutschland
Taschenbuch. Zustand: Neu. Neuware - This book explores artistic choices in the field of cinema exhibition, focusing on film theatres, film festivals, and film archives, setting the various issues of film curating in their international context. The availability of artistic and commercial film has increased overwhelmingly as a result of the digitization of the infrastructure of distribution and exhibition; in this overflow of supply a reasoned and well-grounded selection is necessary more than ever. The conventional structures of the film trade are in a process of transformation and, in the digital age, supply and demand can meet without the intervention of traditional gatekeepers; everybody can be a film curator, in a passive or active way.