LEADER 01142nam a2200265 i 4500 001 991001650979707536 005 20101019123151.0 008 060118s2006 nyu 000 0ceng 020 $a0415403944 (alk. paper) 035 $ab14047950-39ule_inst 040 $aSet. Economia 082 00$a657.092273$222 100 1 $aLee, Thomas Alexander$0112167 245 14$aThe development of the American public accountancy profession :$bScottish chartered accountants and the early American public accountancy profession /$cT. A. Lee 260 $aNew York :$bRoutledge,$c2006 300 $aXIV, 176 p. ;$c24 cm 440 0$aRoutledge new works in accounting history ;$v7 650 0$aAccounting$zUnited States$xHistory 650 0$aAccountants$zUnited States$vBiography 907 $a.b14047950$b28-01-14$c27-03-12 912 $a991001650979707536 945 $aLE025 ECO 657 LEE01.01$g1$i2025000247949$lle025$nProf. Giaccari$o-$pE108.08$q-$rl$s- $t0$u0$v0$w0$x0$y.i15415089$z29-05-12 996 $aDevelopment of the American public accountancy profession$9245261 997 $aUNISALENTO 998 $ale025$b27-03-12$cm$da $e-$feng$gnyu$h4$i0 LEADER 03252nam 2200661 450 001 9910796905503321 005 20230807214014.0 010 $a0-8047-9474-X 024 7 $a10.1515/9780804794749 035 $a(CKB)3710000000374967 035 $a(EBL)1990260 035 $a(SSID)ssj0001441150 035 $a(PQKBManifestationID)12477219 035 $a(PQKBTitleCode)TC0001441150 035 $a(PQKBWorkID)11392509 035 $a(PQKB)11169471 035 $a(StDuBDS)EDZ0001101882 035 $a(MiAaPQ)EBC1990260 035 $a(DE-B1597)563619 035 $a(DE-B1597)9780804794749 035 $a(Au-PeEL)EBL1990260 035 $a(CaPaEBR)ebr11033061 035 $a(OCoLC)904979263 035 $a(OCoLC)1198929933 035 $a(EXLCZ)993710000000374967 100 $a20150328h20152015 uy 0 101 0 $aeng 135 $aur||#|||||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe studios after the studios $eneoclassical Hollywood (1970-2010) /$fJ. D. Connor 210 1$aStanford, California :$cStanford University Press,$d2015. 210 4$dİ2015 215 $a1 online resource (377 p.) 225 1 $aPost 45 300 $aDescription based upon print version of record. 311 $a0-8047-9077-9 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tTable of Contents --$tAcknowledgments --$tIntroduction --$t1. Logorrhea, or, How to Watch a Hollywood Movie --$tIntroduction --$t2. The Literal and the Littoral: Jaws --$t3. Paramount I: From the Directors Company to High Concept --$t4. Our Man in Armani: The Ovitz Interregnum --$tIntroduction --$t5. Paramount II: The Residue of Design --$t6. Let?s Make the Weather: Chaos Comes to Hollywood --$tIntroduction --$t7. That Oceanic Feeling: One Merger Too Many --$t8. The Anxious Epic and the Qualms of Empire: Conglomerate Overstretch --$tConclusion --$tNotes --$tIndex 330 $aModern Hollywood is dominated by a handful of studios: Columbia, Disney, Fox, Paramount, Universal, and Warner Bros. Threatened by independents in the 1970's, they returned to power in the 1980's, ruled unquestioned in the 1990's, and in the new millennium are again besieged. But in the heyday of this new classical era, the major studios movies - their stories and styles - were astonishingly precise biographies of the studios that made them. Movies became product placements for their studios, advertising them to the industry, to their employees, and to the public at large. If we want to know how 410 0$aPost 45. 606 $aMotion picture studios$zCalifornia$zLos Angeles$xHistory 606 $aMotion picture industry$zCalifornia$zLos Angeles$xHistory 606 $aMotion pictures$zCalifornia$zLos Angeles$xHistory 607 $aHollywood (Los Angeles, Calif.)$xHistory 615 0$aMotion picture studios$xHistory. 615 0$aMotion picture industry$xHistory. 615 0$aMotion pictures$xHistory. 676 $a384/.80979494 700 $aConnor$b J. D.$01505831 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910796905503321 996 $aThe studios after the studios$93735721 997 $aUNINA