LEADER 00787nam0-22002891i-450- 001 990000158910403321 035 $a000015891 035 $aFED01000015891 035 $a(Aleph)000015891FED01 035 $a000015891 100 $a20011111d--------km-y0itay50------ba 101 0 $aita 105 $ay-------001yy 200 1 $aPompe di superficie ad uso industriale$fLowara. 210 $aMontecchio Maggiore$cLowara$eITT industries$d2000 215 $a360 p.$cill.$d30 cm 610 0 $aPompe 676 $a621.6 710 02$aLOWARA$0334071 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990000158910403321 952 $a13 N 27 18$b12116$fFINBC 959 $aFINBC 996 $aPompe di superficie ad uso industriale$9121662 997 $aUNINA DB $aING01 LEADER 01077nam--2200361---450- 001 990006103380203316 005 20151201164253.0 035 $a000610338 035 $aUSA01000610338 035 $a(ALEPH)000610338USA01 035 $a000610338 100 $a20151103d1941----km-y0itay50------ba 101 $aita 102 $aIT 105 $a||||||||001yy 200 1 $a<> quattro sciabole$eantologia di narratori ucraini$fa cura di Luigi Salvini 210 $aFirenze$cVallecchi$d1941 215 $a350 p.$d16 cm 225 2 $aBiblioteca Vallecchi$v68 410 0$aBiblioteca Vallecchi$v, 68 606 0 $aLetteratura narrativa ucraina$xAntologie$2BNCF 676 $a891.79 702 1$aSALVINI,$bLuigi 801 0$aIT$bsalbc$gISBD 912 $a990006103380203316 951 $aXV.9.M. 2107$b3531 MAR$cXV.9.M.$d00348437 959 $aBK 969 $aMAR 979 $aCHIARA$b90$c20151201$lUSA01$h1639 979 $aCHIARA$b90$c20151201$lUSA01$h1642 979 $aCHIARA$b90$c20151201$lUSA01$h1642 996 $aQuattro sciabole$91383652 997 $aUNISA LEADER 04633nam 2200709Ia 450 001 9910463587903321 005 20200520144314.0 010 $a0-8135-5376-8 010 $a1-283-68556-6 010 $a0-8135-5378-4 024 7 $a10.36019/9780813553788 035 $a(CKB)3240000000065430 035 $a(EBL)1042978 035 $a(OCoLC)813929055 035 $a(SSID)ssj0000762088 035 $a(PQKBManifestationID)11430730 035 $a(PQKBTitleCode)TC0000762088 035 $a(PQKBWorkID)10738245 035 $a(PQKB)10677454 035 $a(MiAaPQ)EBC1042978 035 $a(MdBmJHUP)muse18893 035 $a(DE-B1597)526221 035 $a(OCoLC)815671327 035 $a(DE-B1597)9780813553788 035 $a(Au-PeEL)EBL1042978 035 $a(CaPaEBR)ebr10612527 035 $a(CaONFJC)MIL399806 035 $a(EXLCZ)993240000000065430 100 $a20111121d2012 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aDeath of the moguls$b[electronic resource] $ethe end of classical Hollywood /$fWheeler Winston Dixon 210 $aNew Brunswick, NJ $cRutgers University Press$dc2012 215 $a1 online resource (280 p.) 225 0 $aTechniques of the Moving Image 225 0$aTechniques of the moving image 300 $aDescription based upon print version of record. 311 $a0-8135-5377-6 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tAcknowledgments --$tPrologue --$t1. The Postwar Collapse --$t2. White Fang at Columbia --$t3. Z for Zanuck --$t4. Mayer's MGM --$t5. Zukor and Paramount --$t6. The Major Minors --$t7. Universal Goes Corporate --$t8. That's All, Folks: Jack Warner's Lost Kingdom --$tWorks Cited and Consulted --$tIndex --$tAbout the Author 330 $aDeath of the Moguls is a detailed assessment of the last days of the "rulers of film." Wheeler Winston Dixon examines the careers of such moguls as Harry Cohn at Columbia, Louis B. Mayer at MGM, Jack L. Warner at Warner Brothers, Adolph Zukor at Paramount, and Herbert J. Yates at Republic in the dying days of their once-mighty empires. He asserts that the sheer force of personality and business acumen displayed by these moguls made the studios successful; their deaths or departures hastened the studios' collapse. Almost none had a plan for leadership succession; they simply couldn't imagine a world in which they didn't reign supreme. Covering 20th Century-Fox, Selznick International Pictures, Metro-Goldwyn-Mayer, Paramount Pictures, RKO Radio Pictures, Warner Brothers, Universal Pictures, Republic Pictures, Monogram Pictures and Columbia Pictures, Dixon briefly introduces the studios and their respective bosses in the late 1940's, just before the collapse, then chronicles the last productions from the studios and their eventual demise in the late 1950's and early 1960's. He details such game-changing factors as the de Havilland decision, which made actors free agents; the Consent Decree, which forced the studios to get rid of their theaters; how the moguls dealt with their collapsing empires in the television era; and the end of the conventional studio assembly line, where producers had rosters of directors, writers, and actors under their command. Complemented by rare, behind-the-scenes stills, Death of the Moguls is a compelling narrative of the end of the studio system at each of the Hollywood majors as television, the de Havilland decision, and the Consent Decree forced studios to slash payrolls, make the shift to color, 3D, and CinemaScope in desperate last-ditch efforts to save their kingdoms. The aftermath for some was the final switch to television production and, in some cases, the distribution of independent film. 410 0$aTechniques of the Moving Image 606 $aMotion picture studios$zCalifornia$zLos Angeles$xHistory$y20th century 606 $aMotion picture industry$zCalifornia$zLos Angeles$xHistory$y20th century 606 $aMotion pictures$zCalifornia$zLos Angeles$xHistory$y20th century 607 $aHollywood (Los Angeles, Calif.)$xHistory$y20th century 608 $aElectronic books. 615 0$aMotion picture studios$xHistory 615 0$aMotion picture industry$xHistory 615 0$aMotion pictures$xHistory 676 $a384/.80979494 700 $aDixon$b Wheeler W.$f1950-$01006109 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910463587903321 996 $aDeath of the moguls$92461165 997 $aUNINA LEADER 01140nam a22002771i 4500 001 991002457279707536 005 20040404143539.0 008 040407s1934 it a||||||||||||||||ita 035 $ab12925718-39ule_inst 035 $aARCHE-090532$9ExL 040 $aDip.to Scienze Storiche$bita$cA.t.i. Arché s.c.r.l. 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