串通
发表于 2025-3-28 15:22:01
Introduction,ure as a transnational company. This chapter concludes with the broader question ‘where does “national” cinema end and “transnational” cinema begin?’, and therefore ‘what are the limits of British cinema’?
MONY
发表于 2025-3-28 21:56:40
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Vulvodynia
发表于 2025-3-28 23:11:39
All the Way Up, . and ., this chapter argues that Cohen’s funding enabled Hammer to produce some of its more challenging genre films such as ., and much of its non-horror output, like . and ., which connected with many of the key political concerns of the early 1970s.
滔滔不绝地说
发表于 2025-3-29 03:48:58
Conclusion,to reclaim EMI as part of a British filmmaking tradition. Ultimately, the history of EMI Films demonstrates that the limits of British cinema are more flexible and permeable than previous authors have suggested.
SOB
发表于 2025-3-29 09:43:57
s return to more parochial films afterwards suggested that he was yesterday’s man, and the disastrous failure of ., which was abandoned halfway through production, is analysed at the end of the chapter as the moment when Cohen’s Midas touch finally leaves him.
Pigeon
发表于 2025-3-29 12:57:35
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