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[null,"1.","Record Nr.",null,"UNINA9910778927303321"]
[null,null,"Autore",null,"Friedman Ryan Jay"]
[null,null,"Titolo",null,"Hollywood's African American films [[electronic resource] ] : the transition to sound / / Ryan Jay Friedman"]
[null,null,"Pubbl/distr/stampa",null,"New Brunswick, N.J., : Rutgers University Press, c2011"]
[null,null,"ISBN",null,"1-283-86437-1"]
[{"$nulls":4},"0-8135-5080-7"]
[null,null,"Descrizione fisica",null,"1 online resource (265 p.)"]
[null,null,"Disciplina",null,"791.43"]
[{"$nulls":4},"791.43652996073"]
[null,null,"Soggetti",null,"African Americans in motion pictures"]
[{"$nulls":4},"African Americans in the motion picture industry"]
[{"$nulls":4},"Motion pictures - United States - History - 20th century"]
[{"$nulls":4},"Race in motion pictures"]
[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,"Introduction : Negro talking pictures -- \"Black became the fad\" : white highbrow culture and Negro films -- \"The Negro invades Hollywood\" : the great migration, the studios, and the performance of African American social mobility -- On (with the) show : race and female bodily spectacle in early Hollywood sound film -- The unhomely plantation : racial phantasmagoria in Hallelujah -- Blackness without African Americans : Check and double check and the dialectics of cinematic blackface -- Conclusion : \"the required Negro motif\" after the transition to sound."]
[null,null,null,"Sommario/riassunto","In 1929 and 1930, during the Hollywood studios' conversion to synchronized-sound film production, white-controlled trade magazines and African American newspapers celebrated a \"\"vogue\"\" for \"\"Negro films.\"\" \"\"Hollywood's African American Films\"\" argues that the movie business turned to black musical performance to both resolve technological and aesthetic problems introduced by the medium of \"\"talking pictures\"\" and, at the same time, to appeal to the white \"\"Broadway\"\" audience that patronized their most lucrative first-run theaters. Ryan Jay Friedman asserts that these transitional film"]
[null,"2.","Record Nr.",null,"UNINA9910131908203321"]
[null,null,"Autore",null,"Richard Hillman (dir.)"]
[null,null,"Titolo",null,"Coriolan de William Shakespeare : langages, interprétations, politique(s) : actes du colloque international organisé à l'Université François-Rabelais de Tours, les 3-4 novembre 2006"]
[null,null,"Pubbl/distr/stampa",null,"Presses universitaires François-Rabelais, 2007"]
[{"$nulls":4},"[Place of publication not identified], : Presses universitaires François Rabelais, 2007"]
[null,null,"ISBN",null,"2-86906-342-3"]
[{"$nulls":4},"2-8218-2129-8"]
[null,null,"Descrizione fisica",null,"1 online resource (292 pages)"]
[null,null,"Collana",null,"Hors collection"]
[null,null,"Soggetti",null,"English"]
[{"$nulls":4},"Languages & Literatures"]
[{"$nulls":4},"English Literature"]
[null,null,"Lingua di pubblicazione",null,"Francese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Bibliographic Level Mode of Issuance: Monograph"]
[null,null,null,"Sommario/riassunto","Fruit du colloque international tenu à l’Université de Tours en novembre 2006 sous les auspices de la Société Française Shakespeare, manifestation destinée surtout aux étudiants des Concours d’anglais, ce volume se veut une contribution plus que ponctuelle aux études shakespeariennes. Ses treize articles, dont celui de R. Brian Parker, éditeur scientifique de Coriolan pour la série The Oxford Shakespeare, témoignent par la diversité de leurs approches de l’intérêt et des débats que continue à susciter cette dernière des tragédies de Shakespeare, œuvre à la fois intellectuellement stimulante, poétiquement riche, politiquement provocatrice et théâtralement puissante."]