青春期
发表于 2025-3-25 06:42:59
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Adherent
发表于 2025-3-25 09:48:21
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PHON
发表于 2025-3-25 12:21:43
Esam M. A. Hussein and the surviving montage of L. F. M.. The chapter emphasizes how unlikely it was for Gance to realize his original ideas within the context of early sound technology. Cuff analyses the film’s uneven attempts to depict the threat of an incoming comet on life on Earth. The chapter counters some of t
zonules
发表于 2025-3-25 17:23:28
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Hdl348
发表于 2025-3-25 21:08:10
and his producers: Louis Nalpas, Charles Pathé, and Jacques Grinieff. The chapter argues that Gance grew increasingly frustrated with the commercial constraints imposed upon his artistic ambitions. Cuff reveals how Gance sought to establish an international film syndicate whose work would be support
智力高
发表于 2025-3-26 01:47:50
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不透明性
发表于 2025-3-26 07:03:57
Esam M. A. Husseind cultural divisions. Cuff follows the thematic link from Gance’s religious projects of the 1910s to L. in the 1920s. The chapter relates how this series was to portray the life of religious prophets and culminate in L. F. M.. Cuff interrogates how Gance’s work continued to reflect his interest in a
绝种
发表于 2025-3-26 09:16:53
Esam M. A. Husseina precise chronology of the film’s production from scripting to release. Using a wealth of archival evidence, Cuff demonstrates how the narrative scale and technological complexity of L. F. M. led to the breakdown of Gance’s relationship with his producer Vassili Ivanoff. The chapter reveals the fin
热情的我
发表于 2025-3-26 13:26:41
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EVEN
发表于 2025-3-26 20:51:38
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