Sanctuary Cinema: Origins of the Christian Film IndustryNYU Press, 12 февр. 2007 г. - Всего страниц: 303 Winner of the Religious Communication Association Book of the Year Award for 2008 |
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... photoplay characters, so that they might be easily understood by the simple audiences which saw them, were named Envy, Sin, Lust, Weakness, Love (something like some of the pictures of today).”72 Up to the late sixteenth century, the ...
... photoplay version of Pilgrim's Progress would have looked like. Such representation forms anticipated cinema, providing striking antecedents of aesthetic and operational norms, with one critic accusing the chronologically ambitious and ...
... photoplay by offering a healthy evening's entertainment while avoiding the simpering sentimentalism frequently identified or confused with Victorian piety and religion. Rather, their photoplays would work as direct and masculine means ...
... photoplay marketable. Simultaneously with Jump's leap into the foreground of a religion and film debate in 1910, one finds that the presence of motion pictures in church work was so widely recognized that the Moving Picture World ...
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Содержание
2 | |
16 | |
56 | |
Divine Shows | 118 |
Better Films | 180 |
Film as Religion | 204 |
Notes | 226 |
Bibliography | 294 |
Index | 298 |