{"text_format":"2","workbook":"xls","n_sheets":1,"sheets":["report2"],"not_rendered":{"charts":0,"images":0,"macros":0,"external_links":1,"defined_names":2,"comments":0,"pivot_tables":0},"unopened":[],"bounds":{"document_bytes":16777216,"sheet_cells":100000,"run_cost":"one","rows_first":2000,"rows_last":500,"rows_between":2000,"halvings":0,"cell_chars":16384,"cell_head_chars":4096},"cells_cut":0,"cells_raw":0,"read":"whole","date_system":"1900","formulas":"cached_only"}

{"sheet":"report2","index":0,"n_rows":38,"n_cols":5,"rows_kept":38,"cut":false,"hidden":false,"merged":[[0,2,0,3],[0,4,0,5],[1,2,1,3],[1,4,1,5],[2,2,2,3],[2,4,2,5],[3,2,3,3],[5,2,5,3],[7,2,7,3],[8,2,8,3],[9,2,9,3],[15,2,15,3],[16,2,16,3],[20,2,20,3],[23,2,23,3],[23,4,23,5],[24,2,24,3],[24,4,24,5],[25,2,25,3],[25,4,25,5],[26,2,26,3],[27,2,27,3],[28,2,28,3],[29,2,29,3],[30,2,30,3],[34,2,34,3],[35,2,35,3]],"flags":["formulas_cached_only"]}
[null,"1.","Record Nr.",null,"UNINA9910453357803321"]
[null,null,"Autore",null,"Smith Jeff <1962 December 17->"]
[null,null,"Titolo",null,"Film criticism, the Cold War, and the blacklist : reading the Hollywood Reds / / Jeff Smith"]
[null,null,"Pubbl/distr/stampa",null,"Berkeley, California : , : University of California Press, , 2014"]
[{"$nulls":4},"©2014"]
[null,null,"ISBN",null,"0-520-28068-7"]
[{"$nulls":4},"0-520-95851-9"]
[null,null,"Descrizione fisica",null,"1 online resource (365 p.)"]
[null,null,"Disciplina",null,"791.43/6582825"]
[null,null,"Soggetti",null,"Motion pictures - Political aspects - United States"]
[{"$nulls":4},"Motion pictures - United States - History - 20th century"]
[{"$nulls":4},"Cold War in motion pictures"]
[{"$nulls":4},"Communism and motion pictures - United States"]
[{"$nulls":4},"Blacklisting of entertainers - United States - History - 20th century"]
[{"$nulls":4},"Electronic books."]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"Frontmatter -- Contents -- Illustrations -- Tables -- Acknowledgments -- Introduction: What More Can Be Said about the Hollywood Blacklist? -- 1. A Bifocal View of Hollywood during the Blacklist Period: Film as Propaganda and Allegory -- 2. I Was a Communist for RKO: Hollywood Anti-Communism and the Problem of Representing Political Beliefs -- 3. Reds and Blacks: Representing Race in Anti-Communist Films -- 4. Stoolies, Cheese-Eaters, and Tie Sellers: Genre, Allegory, and the HUAC Informer -- 5. The Cross and the Sickle: Allegorical Representations of the Blacklist in Historical Films -- 6. Roaming the Plains along the \"New Frontier\": The Western as Allegory of the Blacklist and the Cold War -- 7. Loving the Alien: Science Fiction Cinema as Cold War Allegory -- Conclusion: Old Wounds and the Texas Sharpshooter -- Notes -- Bibliography -- Index"]
[null,null,null,"Sommario/riassunto","Film Criticism, the Cold War, and the Blacklist examines the long-term reception of several key American films released during the postwar period, focusing on the two main critical lenses used in the interpretation of these films: propaganda and allegory. Produced in response to the hearings held by the House Committee on Un-"]
[{"$nulls":4},"American Activities (HUAC) that resulted in the Hollywood blacklist, these films' ideological message and rhetorical effectiveness was often muddled by the inherent difficulties in dramatizing villains defined by their thoughts and belief systems rather than their actions. Whereas anti-Communist propaganda films offered explicit political exhortation, allegory was the preferred vehicle for veiled or hidden political comment in many police procedurals, historical films, Westerns, and science fiction films. Jeff Smith examines the way that particular heuristics, such as the mental availability of exemplars and the effects of framing, have encouraged critics to match filmic elements to contemporaneous historical events, persons, and policies. In charting the development of these particular readings, Film Criticism, the Cold War, and the Blacklist features case studies of many canonical Cold War titles, including The Red Menace, On the Waterfront, The Robe, High Noon, and Invasion of the Body Snatchers."]
[null,"2.","Record Nr.",null,"UNINA9910552898703321"]
[null,null,"Autore",null,"Sedel Julie"]
[null,null,"Titolo",null,"Dirigeants de médias : Sociologie d’un groupe patronal / / Julie Sedel"]
[null,null,"Pubbl/distr/stampa",null,"Rennes, : Presses universitaires de Rennes, 2021"]
[null,null,"ISBN",null,"2-7535-8576-8"]
[null,null,"Descrizione fisica",null,"1 online resource (274 p.)"]
[null,null,"Collana",null,"Res publica"]
[null,null,"Soggetti",null,"Anthropology"]
[{"$nulls":4},"sociologie"]
[{"$nulls":4},"information"]
[{"$nulls":4},"communication"]
[null,null,"Lingua di pubblicazione",null,"Francese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Sommario/riassunto","Qu’est-ce qu’un dirigeant de médias ? Comment sont définies les frontières du groupe ? Alors que la sociologie française a produit une littérature féconde sur les élites économiques, politiques, étatiques, intellectuelles et artistiques, le patronat de presse est resté à l’écart des terrains d’enquête. Cette situation tranche avec l’abondante littérature anglo-saxonne sur le personnel de direction des médias d’information. Résultat : dans les discours journalistiques et militants, le registre de l’autocélébration médiatique et son pendant symétrique, la dénonciation, alimentent le mythe du dirigeant de média tout puissant. L’objectif de cet ouvrage est de rompre avec ce sens commun en prenant pour objet d’analyse ce groupe professionnel. Il entend dépasser la personnification et l’anecdote pour dégager des logiques internes et externes, éclairer les différentes facettes de cette population, mettre en évidence les rouages de leur sélection. Comment se fabrique un dirigeant de média national, en France ? Au terme de quel processus ? Quels sont les ressources et les capitaux qui sont valorisés ? Quels rapports de force entre segments de l’élite révèlent-ils ?"]