Sprache: Englisch
Verlag: Edinburgh University Press, 2021
ISBN 10: 1474447651 ISBN 13: 9781474447652
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PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.
Sprache: Englisch
Verlag: Edinburgh University Press, 2021
ISBN 10: 1474447651 ISBN 13: 9781474447652
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EUR 34,70
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In den WarenkorbPAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.
Sprache: Englisch
Verlag: Edinburgh University Press, 2021
ISBN 10: 1474447651 ISBN 13: 9781474447652
Anbieter: Majestic Books, Hounslow, Vereinigtes Königreich
EUR 37,00
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In den WarenkorbZustand: New.
Sprache: Englisch
Verlag: Edinburgh University Press, 2021
ISBN 10: 1474447651 ISBN 13: 9781474447652
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Zustand: New. 2021. Paperback. . . . . . Books ship from the US and Ireland.
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In den WarenkorbPaperback. Zustand: Brand New. 288 pages. 9.21x6.14x0.56 inches. In Stock.
Sprache: Englisch
Verlag: Edinburgh University Press, 2021
ISBN 10: 1474447651 ISBN 13: 9781474447652
Anbieter: moluna, Greven, Deutschland
EUR 40,15
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In den WarenkorbZustand: New. Über den AutorKim Wilkins is a Postdoctoral Research Fellow in Screen Cultures at the University of Oslo. She is the author of American Eccentric Cinema (2019) and co-editor with Wyatt Moss-Wellington of Refocus: The Films of Spi.
Sprache: Englisch
Verlag: Edinburgh University Press Mai 2021, 2021
ISBN 10: 1474447651 ISBN 13: 9781474447652
Anbieter: AHA-BUCH GmbH, Einbeck, Deutschland
Taschenbuch. Zustand: Neu. Neuware - ReFocus: The Films of Spike Jonze is the first collection of essays on this important and original contemporary filmmaker. It looks at his ground-breaking work in both features and short forms, exploring the impact of his filmmaking across a range of philosophical and cultural discussions. Each of Jonze's feature films, from Being John Malkovich (1999) to Her (2013), is discussed at length, focusing on issues of authorship, narration, genre and adaptation. As well as the textual aspects of Jonze's feature films, the contributors consider his work in music videos and shorts - investigating his position as a filmmaker on the blurred boundaries between studio and independent modes of production.