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Hollywood in Canne$ :the history of a love-hate relationship
集叢名 Film Culture in Transition
相關題名 Hollywood in Cannes
著者 Jungen Christian 
出版地 Amsterdam
出版者 Amsterdam University Press
出版日期 c2014
訂價 €105.00
ISBN 9789089645661
裝訂 hbk.
稽核項 394 p. ill. 25 cm.
附註 Includes bibliographical references (p. 345-359) and index.
Acknowledgments--Introduction--1 The Festival as a means to promote European national cultures, 1939-1968--1.1 With Hollywood against Hollywood--1.2 The Festival as a definitional context for national cinema--1.3 Hollywood's handicap on the diplomatic scene--1.4 The art vs. commerce conflict--1.4.1 The false allure of the free visa--1.5 US government interests in the Cold War--2 The star as a symbiosis between Hollywood and Cannes--2.1 Stars as means of market control--2.2 Cannes legitimates itself with Hollywood stars--2.3 The rise of Brigitte Bardot--2.4 Fear of scandal: Hollywood skimps on stars--2.4.1 Warner Brothers loses interest in Cannes: What ever happened to Bette Davis?--3 The auteur in commercial Hollywood--3.1 The emergence of the politique des auteurs in Cahiers du Cin ma--3.2 The politique at the Festival--3.2.1 The Nouvelle Vague becomes a brand at Cannes--3.2.2 Alfred Hitchcock: The -Father of the Nouvelle Vague as publicity genius--3.3 Criticism of the fora for critical reception--3.3.1 Hollywood's hegemonic claims--3.3.2 The American score with the jury--3.3.3 Film critics as spoilsports--3.3.4 Preemption by film programmers--4 A new harmony courtesy of New Hollywood, 1969-1981--4.1 The selection process is reformed--4.1.2 Denationalization through coproductions--4.2.2 The end of an era: 1968 interrupts the festival--4.4 Cannes as a success story for Hollywood in crisis--4.4.1 The film market--4.4.2 Columbia's success with EASY RIDER--4.4.3 With M*A*S*H, Fox becomes the first major to win the Palme d'Or--4.4.4 Warner Brothers celebrates its fiftieth anniversary at Cannes--4.4.5 Artistic grounds for success--4.5 What can films do for the festival?--4.5.1 American critics discover Cannes--4.5.2 Hollywood's industry press--4.5.3 Cannes on American TV: Dreams for breakfast--4.6 Trans-Atlantic harmony ends--4.6.1 Coppola triumphs with APOCALYPSE NOW--4.6.2 Cimino fails with HEAVEN'S GATE
5 Perils and possibilities for blockbusters, 1975-1997--5.1 Cannes as an avoidable risk--5.1.1 High-concept blockbusters drive out auteur films-- marketing neutralizes critics--5.1.2 The multiplex and MTV revolution--5.1.3 -Pictures that people in Kansas City want to see from Paramount--5.1.4 The Palme d'Or as an art film stigma for THE MISSION--5. 2 Hollywood's strategies to exploit media concentration--5.2.1 Out of competition, outside criticism--5.2.1.1 E.T. feels at home at Cannes--5.2.2 The politique des acteurs--5.2.2.1 Muscular action heroes--5.2.2.2 Arnold Schwarzenegger makes his movie career on the beach--5.2.2.3 Schwarzenegger's flop with LAST ACTION HERO--5.2.2.4 Consequences of the strategy of -with Cannes against Cannes --5.3 The Festival's politique des acteurs--5.3.1 The Mont e des Marches--5.3.2 Sharon Stone becomes a star overnight--5.4 The independents conquer Cannes--6 Cultural exception versus monoculture, 1994-2008--6.1 The new ice age, 1994-2000--6.1.1 Hollywood makes Hollyworld--6.1.2 The GATT negotiations--6.1.3 Cannes as a means to promote cultural diversity--6.1.4. No US blockbusters in competition--6.2 The festival as launch pad, 2001-2008--6.2.1 Global launches--6.2.2 Cannes as gateway to the world market--6.2.3 Veni, Vidi, -Vinci : THE DA VINCI CODE cracks the critics--Conclusion
複本/館藏資料
索書號 館藏地 流通類型 現況 到期日 條碼號
916 J86   TFI 西文參考書 館內架上 34243300064587
 
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