Zobrazeno 1 - 10
of 24
pro vyhledávání: '"Robert von Dassanowsky"'
Out of a film culture originally starved of funds have emerged rich and eclectic works by film-makers that are now achieving the international recognition that they deserve: Barbara Albert, Michael Haneke, Ulrich Seidl, and Stefan Ruzowitzky, to give
Autor:
Robert von Dassanowsky
Publikováno v:
Austrian History Yearbook. 50:237-240
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::ecf4ef4d5f52936929e088da3cd3892e
https://doi.org/10.1017/s0067237819000419
https://doi.org/10.1017/s0067237819000419
A long-overdue reassessment of post-1918 Salzburg as a distinct Austrian cultural hub that experimented in moving beyond war and empire into a modern, self-consciously inclusive, and international center for European culture.For over 300 years, Salzb
Autor:
Robert von Dassanowsky
Publikováno v:
Journal of Italian Cinema & Media Studies. 6:159-177
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::ab90bdd2ab6106372969f065eca2ac67
https://doi.org/10.1386/jicms.6.2.159_1
https://doi.org/10.1386/jicms.6.2.159_1
Autor:
Katherine Arens, Todd Herzog, Elizabeth Loentz, Carl Niekerk, Helga Schreckenberger, Susanne Hochreiter, Allyson Fiddler, Imke Meyer, Heidi Schlipphacke, Robert von Dassanowsky, Hillary Hope Herzog
Publikováno v:
The German Quarterly. 89:221-239
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::b62b8d63bf3e9cc586fb97338d57759b
https://doi.org/10.1111/gequ.10269
https://doi.org/10.1111/gequ.10269
Autor:
Robert von Dassanowsky
Publikováno v:
Austrian History Yearbook. 39:157-175
Political developments between 1933 and 1934 placed Austrian cinema under more governmental control than at any time since World War I. In 1934 the new chancellor, Engelbert Dollfuss, attempted to counter a looming civil war and the growing power of
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::49cf60b019954f5237f7c204dcd87712
https://doi.org/10.1017/s0667237808000096
https://doi.org/10.1017/s0667237808000096
Autor:
Robert von Dassanowsky
Publikováno v:
Film International. 6:31-44
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::e32e5eca98044a05c4a8d24f0c407822
https://doi.org/10.1386/fiin.6.1.31
https://doi.org/10.1386/fiin.6.1.31
Autor:
Robert von Dassanowsky
Publikováno v:
Journal of Popular Film and Television. 35:107-118
Appreciated today only for the style of the early- and mid-1960s Hollywood studio product, the crime comedy film featured strong female roles that paralleled the collapse of the traditional female roles in the era's spy films. Influenced by Hitchcock
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::05e08028a4fc584483e74455722fa39e
https://doi.org/10.3200/jpft.35.3.107-118
https://doi.org/10.3200/jpft.35.3.107-118
Autor:
Robert von Dassanowsky
Publikováno v:
Film International. 5:14-27
The writer discusses the Eurodecadence genre of filmmaking, tracing its origins in the 1970s to its influence on the recent Anglo-American school of neodecadence. Films discussed include Luchino Visconti's The Damned (1969), Paul Schrader's The Comfo
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::a9ba6c288034b6cf153d4c25c51d6f6e
https://doi.org/10.1386/fiin.5.3.14
https://doi.org/10.1386/fiin.5.3.14