LEADER 01389nam--2200409---450- 001 990003685600203316 005 20120910113426.0 010 $a978-88-207-5398-6 035 $a000368560 035 $aUSA01000368560 035 $a(ALEPH)000368560USA01 035 $a000368560 100 $a20120910d2012----km-y0itay50------ba 101 0 $aita 102 $aIT 105 $aaf||z|||001yy 200 1 $aCinema a passo romano$etrent'anni di fascismo sullo schermo (1934-1963)$fPietro Cavallo, Luigi Goglia, Pasquale Iaccio$gprefazione di Gian Piero Brunetta 210 $aNapoli$cLiguori$d2012 215 $aXIV, 381 p., [8] carte di tav.$cill.$d24 cm 225 2 $aBiblioteca$iCinema e storia$v19 410 0$12001$aBiblioteca$iCinema e storia$v19 606 0 $aCinema italiano$xTemi [:] Fascismo$z1934-1963$2BNCF 676 $a791.43658450915 700 1$aCAVALLO,$bPietro$f<1950- >$0143893 702 1$aGOGLIA,$bLuigi 702 1$aIACCIO,$bPasquale 702 1$aBRUNETTA,$bGian Piero 801 0$aIT$bsalbc$gISBD 912 $a990003685600203316 951 $aXIII.2. 2576$b7492 L.G.$cXIII.2.$d00291560 951 $aXIII.2. 2576 a$b236100 L.M.$cXIII.2.$d00058811 959 $aBK 969 $aUMA 979 $aANNAMARIA$b90$c20120910$lUSA01$h1121 979 $aANNAMARIA$b90$c20120910$lUSA01$h1134 996 $aCinema a passo romano$9264073 997 $aUNISA LEADER 01180nam 2200421 450 001 9910787915103321 005 20231102231128.0 010 $a1-4832-7864-6 035 $a(CKB)2670000000576154 035 $a(CaPaEBR)ebrary10988697 035 $a(MiAaPQ)EBC1839448 035 $a(EXLCZ)992670000000576154 100 $a20141128e19851983 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aConcepts of quantum optics /$fP. L. Knight and L. Allen 205 $aFirst edition. 210 1$aOxford, England :$cPergamon Press,$d1985. 210 4$dİ1983 215 $a1 online resource (228 p.) 311 $a0-08-029160-0 311 $a1-322-30217-0 320 $aIncludes bibliographical references and index. 606 $aQuantum optics 615 0$aQuantum optics. 676 $a535/.15 700 $aKnight$b Peter L.$f1947-$01536379 702 $aAllen$b L$g(Leslie),$f1935- 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910787915103321 996 $aConcepts of quantum optics$93785094 997 $aUNINA LEADER 03131nam 2200613Ia 450 001 9910782615703321 005 20230721005056.0 010 $a1-135-59208-X 010 $a1-282-06480-0 010 $a9786612064807 010 $a0-203-87721-7 035 $a(CKB)1000000000719296 035 $a(EBL)425537 035 $a(OCoLC)437110988 035 $a(SSID)ssj0000193644 035 $a(PQKBManifestationID)11197878 035 $a(PQKBTitleCode)TC0000193644 035 $a(PQKBWorkID)10226644 035 $a(PQKB)10672487 035 $a(MiAaPQ)EBC425537 035 $a(Au-PeEL)EBL425537 035 $a(CaPaEBR)ebr10289096 035 $a(EXLCZ)991000000000719296 100 $a20080229d2009 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aLiving without the screen$b[electronic resource] $ecauses and consequences of life without television /$fMarina Krcmar 210 $aNew York $cRoutledge$dc2009 215 $a1 online resource (243 p.) 225 1 $aLEA's communication series 300 $aDescription based upon print version of record. 311 $a0-8058-6329-X 311 $a0-8058-6328-1 320 $aIncludes bibliographical references and index. 327 $aBook Cover; Title; Copyright; Contents; Preface; Acknowledgments; Part I Introduction and Overview; Chapter 1 Living without Television; Chapter 2 Sample and Method; Chapter 3 How Nonviewers Gave Up Television; Chapter 4 Attitudes Toward Living Without Television; Chapter 5 What is Television?; Part II Television as Content; Chapter 6 Keeping Out Televised Sex and Violence; Chapter 7 Minimizing Consumerism; Chapter 8 Politics and Civic Engagement; Part III Television as Medium; Chapter 9 Autonomous Children; Chapter 10 Time Use; Chapter 11 Encouraging Creativity 327 $aChapter 12 Engaging in real LifePart IV Television as Industry; Chapter 13 Choosing to be Different; Chapter 14 Battling the Industry; Chapter 15 Conclusion; References; Index 330 $aLiving Without the Screen provides an in-depth study of those American families and individuals who opt not to watch television, exploring the reasons behind their choices, discussing their beliefs about television, and examining the current role of television in the American family. Author Marina Krcmar answers several questions in the volume: What is television? Who are those people who reject it? What are their reasons for doing so? How do they believe their lives are different because of this choice? What impact does this choice have on media research? 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