Nuevo texto crítico, Edições 21-22Department of Spanish and Portuguese, Stanford University, 1998 |
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Página 158
... Mexican film industry -to produce transnational feature films- and their continuing relationship to the Mexican state's own political discourse . - The U.S.government's wartime project to deliver technical and material aid to the ...
... Mexican film industry -to produce transnational feature films- and their continuing relationship to the Mexican state's own political discourse . - The U.S.government's wartime project to deliver technical and material aid to the ...
Página 166
... Mexican state sought to distract popular attention from its reactionary project ( de- pendent upon alliance with the United States ) and to find a nonradical way to maintain a discursive link to its revolutionary creed by publicly ...
... Mexican state sought to distract popular attention from its reactionary project ( de- pendent upon alliance with the United States ) and to find a nonradical way to maintain a discursive link to its revolutionary creed by publicly ...
Página 168
... Mexican cinema's foremost " nationalist " filmmaker of the 1950s , Dicen que soy comunista allows for a glimpse at the way in which the Mexican state and U.S. foreign policy together sought to develop mass media to combat threats to ...
... Mexican cinema's foremost " nationalist " filmmaker of the 1950s , Dicen que soy comunista allows for a glimpse at the way in which the Mexican state and U.S. foreign policy together sought to develop mass media to combat threats to ...
Conteúdo
EneroDiciembre 1998 Número 2122 | 10 |
THE BIG PICTURE | 14 |
Cityscapes and Alienation Buenos Aires | 77 |
Direitos autorais | |
6 outras seções não mostradas
Outras edições - Ver todos
Termos e frases comuns
actor American Cinema amigo amor años Araya Argentina Aruanda aunque autor Benacerraf Benito bien Brazil Brazilian cinema Buenos Aires Buñuel cambio Cangaceiro cangaço Carlos Hugo Christensen casa caso chanchadas Christensen Cinema Novo cinematográfica comedia crítica critics Cruz cuento cultural después día diferente director documentary ejemplo el film entonces época escena espectador éste estilo Fernando film history film's filmmakers García género Glauber Rocha Grande Otelo había hecho hijo historia Hollywood hombre industry interesante jefe Jorge José Latin American Leopoldo Torre Nilsson Luis Lumiton María Mario Mario Soffici Mauro melodrama Mexican Mexico muerte mujer mundo Neo-realism nuevo obra Orson Otelo padre Paulo película period Perón personajes political popular primera production realidad relato Rio de Janeiro Roberto Romero samba Santos São Paulo Schlieper sequence shot Sinhá Moça sino social sólo studio tarde tema texto tiempo tion Tomás Tomás Eloy Martínez urban veces Venezuelan Viany vida Welles's