00774nam0-22002411i-450-990002669350403321000266935FED01000266935(Aleph)000266935FED0100026693520000920d1995----km-y0itay50------baENGCrisi e risanamento delle imprese,il modello dell'amministrazione straordinaria dellebanchedi Alessandro NigroMilanoGiuffrè1995Nigro,Alessandro106461ITUNINARICAUNIMARCBK99000266935040332111-555-TB4860ECAECACrisi e risanamento delle imprese,il modello dell'amministrazione straordinaria dellebanche430403UNINAING0103097nam 2200613Ia 450 991077892730332120230725060022.01-283-86437-10-8135-5080-7(CKB)2550000000084253(EBL)858953(OCoLC)775872924(SSID)ssj0000606417(PQKBManifestationID)11379749(PQKBTitleCode)TC0000606417(PQKBWorkID)10582302(PQKB)11536613(MiAaPQ)EBC858953(MdBmJHUP)muse16161(Au-PeEL)EBL858953(CaPaEBR)ebr10533633(EXLCZ)99255000000008425320101005d2011 ub 0engur|n|---|||||txtccrHollywood's African American films[electronic resource] the transition to sound /Ryan Jay FriedmanNew Brunswick, N.J. Rutgers University Pressc20111 online resource (265 p.)Description based upon print version of record.0-8135-5048-3 Includes bibliographical references and index.Introduction : Negro talking pictures -- "Black became the fad" : white highbrow culture and Negro films -- "The Negro invades Hollywood" : the great migration, the studios, and the performance of African American social mobility -- On (with the) show : race and female bodily spectacle in early Hollywood sound film -- The unhomely plantation : racial phantasmagoria in Hallelujah -- Blackness without African Americans : Check and double check and the dialectics of cinematic blackface -- Conclusion : "the required Negro motif" after the transition to sound. In 1929 and 1930, during the Hollywood studios' conversion to synchronized-sound film production, white-controlled trade magazines and African American newspapers celebrated a ""vogue"" for ""Negro films."" ""Hollywood's African American Films"" argues that the movie business turned to black musical performance to both resolve technological and aesthetic problems introduced by the medium of ""talking pictures"" and, at the same time, to appeal to the white ""Broadway"" audience that patronized their most lucrative first-run theaters. Ryan Jay Friedman asserts that these transitional filmAfrican Americans in motion picturesAfrican Americans in the motion picture industryMotion picturesUnited StatesHistory20th centuryRace in motion picturesAfrican Americans in motion pictures.African Americans in the motion picture industry.Motion picturesHistoryRace in motion pictures.791.43791.43652996073Friedman Ryan Jay1128056MiAaPQMiAaPQMiAaPQBOOK9910778927303321Hollywood's African American films3737215UNINA01064nam0 22002891i 450 UON0000727720231205101916.89305-7108-293-920020107d1971 |0itac50 baengGB|||| 1||||Papal envoys to the Great KhanI. de RachewiltzLondon : Faber & Faber1971230 p.21 cm(Esemplare in fotocopia)AMBASCERIE PONTIFICIEMongoliaUONC002039FIGBLondonUONL003044MON VIII BMONGOLIA - GEOGRAFIA, VIAGGIARACHEWILTZIgor : deUONV003639638519Faber and FaberUONV246465650ITSOL20240220RICASIBA - SISTEMA BIBLIOTECARIO DI ATENEOUONSIUON00007277SIBA - SISTEMA BIBLIOTECARIO DI ATENEOSI MON VIII B 007 N SI SA 73896 5 007 N Papal envoys to the Great Khan1176456UNIOR