Relevant bibliographies by topics / Getaway (Motion picture : 1972)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Getaway (Motion picture : 1972)'

Author: Grafiati
Published: 26 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Getaway (Motion picture : 1972)"

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Kepley, Vance, Val S. Golovskoy, John Rimberg, and Steven Hill. "Behind the Soviet Screen: The Motion-Picture Industry in the USSR, 1972-1982." Slavic and East European Journal 32, no. 1 (1988): 148. http://dx.doi.org/10.2307/308942.

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Dukore, Bernard F. "Miss Baxter and Mrs. Warren." Shaw 43, no. 2 (2023): 217–34. http://dx.doi.org/10.5325/shaw.43.2.0217.

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ABSTRACT In the latter half of 1930, Bernard Shaw published a revision of the preface to Mrs Warren’s Profession, including a postscript that was an abridged version of a letter of his that had appeared in The Times on 17 February 1930. Both the letter and postscript concern the refusal by the British Board of Film Censors (BBFC) to license a public showing of a motion picture, The Night Patrol, chiefly because one of its principal subjects, like that of Mrs Warren’s Profession, which the Lord Chamberlain had censored for the stage for the same reason in 1898, was prostitution. Only at the end
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Nollan, Valerie Z. "Behind The Soviet Screen: The Motion Picture Industry in the USSR 1972-1982. By Val S. Golovskoy with John Rimberg. Ann Arbor: Ardis, 1986. 144 pp. $25.00, cloth." Slavic Review 46, no. 3-4 (1987): 661–62. http://dx.doi.org/10.2307/2498170.

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4

Menashe, Louis. ": Behind the Soviet Screen: The Motion Picture Industry in the USSR, 1972-1982 . Val S. Golovskoy , John Rimberg . ; In the Service of the State: The Cinema of Alexander Dovzhenko . Vance Kepley, Jr. ." Film Quarterly 40, no. 4 (1987): 36–40. http://dx.doi.org/10.1525/fq.1987.40.4.04a00190.

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Menashe, Louis. "Review: Behind the Soviet Screen: The Motion Picture Industry in the USSR, 1972-1982 by Val S. Golovskoy, John Rimberg; In the Service of the State: The Cinema of Alexander Dovzhenko by Vance Kepley, Jr." Film Quarterly 40, no. 4 (1987): 36–40. http://dx.doi.org/10.2307/1212248.

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Alam, Kodrat, Muhammad Mahdi, and Rizky Fernanda Bastian. "Optimization Of The Crew In The Implementation Of The Guard Service To Prevent The Occurrence Of Collision Hazards in KM. TL-IX." IWJ : Inland Waterways Journal 4, no. 2 (2022). http://dx.doi.org/10.54249/iwj.v4i2.71.

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Officer has an important role in processing the motion of the ship when sailing to avoid things that are not desirable to avoid the dangers of collision. Formulation of the problem taken by the author in this thesis is the implementation of the guard service to prevent the occurrence of collision hazards in KM.TL-IX optimization of the use of navigation tools to prevent the occurrence of collision hazards. With qualitative research methods that produce descriptive data, the implementation of the guard service can be described clearly and concretely because the data obtained from direct intervi
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Passaggia, Pierre-Yves, Nadia F. Cohen, and Alberto Scotti. "Limiting regimes of turbulent horizontal convection. Part 2. Large Prandtl numbers." Journal of Fluid Mechanics 997 (October 21, 2024). http://dx.doi.org/10.1017/jfm.2024.757.

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Horizontal convection at large Rayleigh and Prandtl numbers is studied experimentally in a regime up to seven orders of magnitude larger in terms of Rayleigh numbers than previously achieved. To reach Rayleigh numbers up to $10^{17}$ , the horizontal density gradient is generated using differential solutal convection by a differential input of salt and fresh water controlled by diffusion in a novel experiment in which the zero-net mass flux of water is ensured through permeable membranes. This set-up allows us to accurately measure the Nusselt number in solutal convection by carefully controll
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Thomas, Peter. "Anywhere But the Home: The Promiscuous Afterlife of Super 8." M/C Journal 12, no. 3 (2009). http://dx.doi.org/10.5204/mcj.164.

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Consumer or home use (previously ‘amateur’) moving image formats are distinguished from professional (still known as ‘professional’) ones by relative affordability, ubiquity and simplicity of use. Since Pathé Frères released its Pathé Baby camera, projector and 9.5mm film gauge in 1922, a distinct line of viewing and making equipment has been successfully marketed at nonprofessional use, especially in the home. ‘Amateur film’ is a simple term for a complex, variegated and longstanding set of activities. Conceptually it is bounded only by the negative definition of nonprofessional (usually inte
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Gregg, Melissa. "Affect." M/C Journal 8, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2437.

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 It seems not insignificant that the cult film Donnie Darko is set in the final stages of the Bush-Dukakis election campaign, which had the twin effects of inaugurating the Bush presidential dynasty and making “liberal” an insurmountably derogatory term in American politics. Donnie’s gift of seeing into the future is, at least superficially, a reaction to his medication for “emotional problems”. But the count-down to his apocalyptic date with a giant bunny-rabbit also coincides with the demise of any remaining hope for a certain kind of progressive Left politics. With the o
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Rintoul, Suzanne. "Loving the Alien." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2408.

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In a 2003 Rolling Stone review of David Bowie’s 1972 concept album The Rise and Fall of Ziggy Stardust and the Spiders From Mars, one critic looks back and argues that “[the creation of] Ziggy was a shrewd move because it presented Bowie, the fledgling artiste, as an established rock star.” Bowie’s shrewdness, the author muses, lies in the fact that he created in Ziggy “rock’s first completely prepackaged persona,” and inscribed it over his own. Whether or not Ziggy was indeed the first such persona (one asks oneself if all celebrities are not, to a degree, prepackaged personae), Bowie’s self-
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Dissertations / Theses on the topic "Getaway (Motion picture : 1972)"

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Hope, Cathy. "A history of the Sydney and Melbourne Film Festivals, 1945-1972 negotiating between culture and industry /." Connect to this title online Connect to this title online (alternate address), 2004. http://cicada.canberra.edu.au/public/adt-AUC20050630.130907/.

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2

Baskin, Richard Lee. "Act I, Scene 2 of Hamlet: a Comparison of Laurence Olivier's and Tony Richardson's Films with Shakespeare's Play." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500951/.

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In act I, scene 2 of Shakespeare's Hamlet, one of the key themes presented is the theme of order versus disorder. Gertrude's hasty marriage to Claudius and their lack of grief over the recent death of King Hamlet violate Hamlet's sense of order and are the cause of Hamlet's anger and despair in 1.2. Rather than contrast Hamlet with his uncle and mother, Olivier constructs an Oedipal relationship between Hamlet and Gertrude--unsupported by the text--that undermine's the characterization of Hamlet as a man of order. In contrast, Tony Richardson presents Claudius' and Gertrude's actions as a viol
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Ayob, Asma. "Beyond appearances : transnationalism and representation of women in Bollywood cinema." Thesis, 2014. http://hdl.handle.net/10500/18481.

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Bollywood cinema continues to evolve. As a result, it has become a transnational/cultural role player for Indian audiences worldwide. There has always been a strong link between Bollywood cinema and Indian society. Over the years, it has contributed to the dialogue on women’s roles and position in Indian society. In the past, Bollywood filmmakers were faithful to representations of women who were bound by patriarchal structures in the sense that they were expected to be loyal to ancient Indian traditions and belief-systems. Based on the increase in Indian migration, contemporary Bollywood film
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Books on the topic "Getaway (Motion picture : 1972)"

1

Giancarlo, Carbone, ed. El Cine en el Perú: 1950-1972 : testimonios. Universidad de Lima, 1991.

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2

Pulici, Davide. Milano calibro 9 (1972) di Fernando Di Leo. Gremese, 2019.

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3

1951-, Iaccio Pasquale, ed. Bronte: Cronaca di un massacro che i libri di storia non hanno raccontato : un film di Florestano Vancini. Liguori, 2002.

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Baiardo, Enrico. La moralità dei sette veli: La Salomé di Carmelo Bene. Erga, 1997.

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1958-, Āuẏāla Sājedula, ed. R̥tvikamaṅgala: Bāṃlādeśe R̥tvika-carcāra dalila, 1972-2000. Bāṃlā Ekāḍemī, 2001.

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6

Nardi, Edoardo. C'era una volta il film: Intorno al 1968/1972. Gangemi editore SpA international publishing, 2016.

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7

1929-, Rimberg John, ed. Behind the Soviet screen: The motion-picture industry in the USSR, 1972-1982. Ardis, 1986.

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8

Mohamedi, Djamel. L'oiseau de l'Afrique du Nord: Tahar Hanache : parcours du pionnier du cinéma algérien : 1898-1972. ENAG éditions, 2017.

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Kosinova, M. I. "Muzyka Bakha zvuchit kak-to ne po-sovetski...": Istorii︠a︡ sozdanii︠a︡ filʹmov Andrei︠a︡ Tarkovskogo, sni︠a︡tykh v SSSR : "Soli︠a︡ris," "Zerkalo," "Stalker". "Kanon+", 2017.

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10

C, Robertson James. The hidden cinema: British film censorship in action, 1913-1972. Routledge, 1989.

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Book chapters on the topic "Getaway (Motion picture : 1972)"

1

Rosenbaum, Jonathan. "Editor’s Notes to the Welles Interview." In Orson Welles ’s Citizen Kane. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0003.

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Abstract Given the virtually mythological status of Citizen Kane in Welles ‘s career, it isn ‘t surprising that it has generated by far the most debate of all his films. Two publications in particular should be cited: “Raising Kane,” by Pauline Kael, which appeared originally in two successive issues of the New Yorker (February 20 and 27, 1971) and then as a lengthy preface to the script, published later the same year (The “Citizen Kane” Book, Boston: Atlantic/Little, Brown, and Robert L. Carringer ‘s The Makins of “Citizen Kane” (Berkeley: University of California Press, 1985). Kael ‘s essay
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"Silence, Perseverance, and Survival in State-Run Philippine Film Archives." In The Archival Afterlives of Philippine Cinema. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478027867-003.

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The 2004 closure of the Philippine Information Agency's Motion Picture Division (PIA-MPD) had negative repercussions on three key collections entrusted to the PIA: films from the National Media Production Center; the Movie and Television Review and Classification Board (including remnants of the defunct Film Archives of the Philippines); and LVN Pictures. Analyzing the makeshift digitization of two propaganda films about Ferdinand Marcos's 1972 declaration of martial law, the chapter affirms the need for public accountability and legislation to safeguard the institutional continuity and autono
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"A Tale of Three Buildings." In The Archival Afterlives of Philippine Cinema. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478027867-002.

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The 2004 closure of the Philippine Information Agency's Motion Picture Division (PIA-MPD) had negative repercussions on three key collections entrusted to the PIA: films from the National Media Production Center; the Movie and Television Review and Classification Board (including remnants of the defunct Film Archives of the Philippines); and LVN Pictures. Analyzing the makeshift digitization of two propaganda films about Ferdinand Marcos's 1972 declaration of martial law, the chapter affirms the need for public accountability and legislation to safeguard the institutional continuity and autono
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4

Goldman, Herbert G. "Into Her Own." In Fanny Brice. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195057256.003.0007.

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Abstract The Gondorf Ring was a cartel of swindlers and con men built up and headed by the Gondorf brothers of Atlantic City. Charley Gondorf was a legend, and “Henry Gondorff” was the name used for Paul Newman’s character in the 1972 motion picture The Sting. Fanny had already signed to play a featured role in Lew Fields’ Hands Up, a “musicocomico” melodrama about the theft of a neck.lace that opened at the Shubert Theatre in New Haven, Connecticut, on June 7, 1915. The New York Dramatic Mirror said Fanny was ‘‘the hit of the show,” but the production failed to come up to expectations, and wa
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