MARC Record from marc_columbia

LEADER: 02165fam a2200397 a 4500
001 1591367
005 20220608193910.0
008 940721t19951995nyuaf bq 001 0 eng
010 $a 94030573
020 $a0231101120
020 $a0231101139 (pbk.)
035 $a(OCoLC)30894703
035 $a(OCoLC)ocm30894703
035 $9AKJ4344CU
035 $a(NNC)1591367
035 $a1591367
040 $aDLC$cDLC$dNNC$dOrLoB
050 00 $aPN1998.3.O64$bW5 1995
082 00 $a791.43/0233/092$220
100 1 $aWhite, Susan M.$0http://id.loc.gov/authorities/names/n82042033
245 14 $aThe cinema of Max Ophuls :$bmagisterial vision and the figure of woman /$cSusan M. White.
260 $aNew York, NY :$bColumbia University Press,$c[1995], ©1995.
300 $a384 pages, 24 unnumbered pages of plates :$billustrations ;$c24 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
490 1 $aFilm and culture series
504 $aFilmography: p.[365]-371.
504 $aIncludes bibliographical references and index.
505 0 $a1. Circulation and Scapegoating in Lachende Erben (Happy Heirs). Die verkaufte Braut (The Bartered Bride), and Liebelei -- 2. The Economy of the Feminine in Madame de .... Komedie om Geld (Comedy about Money), Sans Lendemain (No Tomorrow), and The Reckless Moment -- 3. Directorial Protocol and the Failed Sacrifice in De Mayerling a Sarajevo -- 4. Aggressivity, Image, and Sound in Letter from an Unknown Woman -- 5. To Hear Is to Obey: The Acoustical Imperative in La Signora di Tutti, Werther, and Lachende Erben -- 6. Spectacle, Economics, and the Perils of Directorship in Le Plaisir, La Ronde, and Caught -- 7. Closing the Circle: Lola Montes, Divine, and La Tendre Ennemie.
600 10 $aOphuls, Max,$d1902-1957$xCriticism and interpretation.
650 00 $aWomen in motion pictures.$0http://id.loc.gov/authorities/subjects/sh85147593
830 0 $aFilm and culture.$0http://id.loc.gov/authorities/names/n92059833
852 00 $bglx$hPN1998.3.O64$iW5 1995
852 00 $boff,glx$hPN1998.3.O64$iW5 1995
852 00 $boff,glx$hPN1998.3.O64$iW5 1995
852 00 $bmil$hPN1998.3.O64$iW5 1995