LEADER 01140aam a22002654a 4500 001 991001423939707536 008 100128s2011 it b 000 0 ita d 020 $a9788838768378 035 $ab14012261-39ule_inst 040 $aSet. Economia - SAGA$bita 082 04$a345.450268 100 1 $aScialoja, Antonio$0137863 245 10$aAntiriciclaggio :$bcriminalità organizzata e riciclaggio, la normativa di contrasto, obblighi e adempimenti, riferimenti giurisprudenziali /$cAntonio Scialoja, Massimo Lembo 250 $a3. ed 260 $aSantarcangelo di Romagna :$bMaggioli,$c2011 300 $a364 p. ;$c24 cm 440 0$aProfessionisti & imprese$aEconomia e finanza ;$v43 650 04$aRiciclaggio 700 1 $aLembo, Massimo$eauthor$4http://id.loc.gov/vocabulary/relators/aut$0608239 907 $a.b14012261$b02-04-14$c11-10-11 912 $a991001423939707536 945 $aLE025 ECO 345 SCI01.01$g1$i2025000246539$lle025$nProf. Adamo$o-$pE38.00$q-$rl$s- $t0$u9$v6$w9$x0$y.i15362905$z21-12-11 996 $aAntiriciclaggio$91109897 997 $aUNISALENTO 998 $ale025$b11-10-11$cm$da $e-$fita$git $h0$i0 LEADER 04652nam 22005535 450 001 9910791334803321 005 20230725015513.0 010 $a1-282-56248-7 010 $a9786612562488 010 $a0-8135-4930-2 024 7 $a10.36019/9780813549309 035 $a(CKB)2560000000014680 035 $a(EBL)868530 035 $a(OCoLC)638858491 035 $a(SSID)ssj0000431125 035 $a(PQKBManifestationID)11270765 035 $a(PQKBTitleCode)TC0000431125 035 $a(PQKBWorkID)10474179 035 $a(PQKB)10137513 035 $a(DE-B1597)529339 035 $a(DE-B1597)9780813549309 035 $a(MiAaPQ)EBC868530 035 $a(EXLCZ)992560000000014680 100 $a20200623h20102010 fg 101 0 $aeng 135 $aur||#|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aWhose Lives Are They Anyway? $eThe Biopic as Contemporary Film Genre /$fDennis Bingham 210 1$aNew Brunswick, NJ :$cRutgers University Press,$d[2010] 210 4$d©2010 215 $a1 online resource (445 p.) 300 $aDescription based upon print version of record. 311 $a0-8135-4657-5 327 $tFront matter --$tContents --$tAcknowledgments --$tIntroduction: A Respectable Genre of Very Low Repute --$t1. Strachey?s Way, or All?s Well That Ends Welles --$t2. Rembrandt (1936) --$t3. Citizen Kane and the Biopic --$t4. Lawrence of Arabia: ?But does he really deserve a place in here?? --$t5. Nixon, Oliver Stone, and the Unmaking of the Self-Made Man --$t6. Thirty Two Short Films About Glenn Gould: Ghost Picture --$t7. Ed Wood: The Biopic of Someone Undeserving --$t8. Spike Lee?s Malcolm X: Appropriation or Assimilation? --$t9. Raoul Peck?s Lumumba: Drama, Documentary, and Postcolonial Appropriation --$t10. Prologue --$t11. Superstar: The Karen Carpenter Story: Toying with the Genre --$t12. I Want to Live! Criminal Woman, Male Discourses --$t13. Barbra and Julie at the Dawning of the Age of Aquarius --$t14. Hacked: Gorillas in the Mist and Other Female Biopics of the 1980's --$t15. An Angel at My Table: Re-Framing the Female Biography --$t16. Erin Brockovich: Hollywood Feminist Revisionism, after a Fashion --$t17. Twenty-First-Century Women --$t18. I?m Not There: Some Conclusions on a Book Concerning Biopics --$tWorks Cited --$tIndex --$tAbout the Author 330 $aThe biopic presents a profound paradox?its own conventions and historical stages of development, disintegration, investigation, parody, and revival have not gained respect in the world of film studies. That is, until now. Whose Lives Are They Anyway? boldly proves a critical point: The biopic is a genuine, dynamic genre and an important one?it narrates, exhibits, and celebrates a subject's life and demonstrates, investigates, or questions his or her importance in the world; it illuminates the finer points of a personality; and, ultimately, it provides a medium for both artist and spectator to discover what it would be like to be that person, or a certain type of person. Through detailed analyses and critiques of nearly twenty biopics, Dennis Bingham explores what is at their core?the urge to dramatize real life and find a version of the truth within it. The genre's charge, which dates back to the salad days of the Hollywood studio era, is to introduce the biographical subject into the pantheon of cultural mythology and, above all, to show that he or she belongs there. It means to discover what we learn about our culture from the heroes who rise and the leaders who emerge from cinematic representations. Bingham also zooms in on distinctions between cinematic portrayals of men and women. Films about men have evolved from celebratory warts-and-all to investigatory to postmodern and parodic. At the same time, women in biopics have been burdened by myths of suffering, victimization, and failure from which they are only now being liberated. To explore the evolution and lifecycle changes of the biopic and develop an appreciation for subgenres contained within it, there is no better source than Whose Lives Are They Anyway? 606 $aBiographical films -- History and criticism 606 $aBiographical films$xHistory and criticism 615 4$aBiographical films -- History and criticism. 615 0$aBiographical films$xHistory and criticism 676 $a791.4365 700 $aBingham$b Dennis$4aut$4http://id.loc.gov/vocabulary/relators/aut$01047349 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910791334803321 996 $aWhose Lives Are They Anyway$92474861 997 $aUNINA LEADER 01656nam0 22003611i 450 001 UON00314104 005 20231205104109.488 010 $a978-38-683-5002-9$bv. 346 100 $a20080721d2008 |0itac50 ba 101 $ager 102 $aDE 105 $a|||| 1|||| 200 1 $aNur ili$eDie Sonnengottheiten in den nordwestsemitischen Religionen von der Spatbronzezeit bis zur vorromischen Zeit$fJuliane Kutter 210 $aMunster$cUgarit-Verlag$d2008 215 $a523 p., 12 c. di tav.$d25 cm 311 $aVOA SERIE 001$9UON00000604 410 0$1001UON00000604$12001 $aAlter Orient und Altes Testament$eVeroffentlichungen zur Kultur und Geschichte des Alten Orients und des Alten Testaments$fHrsg. 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