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|a UAMI
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|a MacFadyen, David,
|d 1964-
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|a Yellow crocodiles and blue oranges :
|b Russian animated film since World War Two /
|c David MacFadyen.
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260 |
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|a Montreal ;
|a Ithaca :
|b McGill-Queen's University Press,
|c ©2005.
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|a 1 online resource (xx, 256 pages) :
|b illustrations
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|a text
|b txt
|2 rdacontent
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|a computer
|b c
|2 rdamedia
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|a online resource
|b cr
|2 rdacarrier
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|a data file
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|a Filmography: p. [233]-241.
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|a Includes bibliographical references (pages 201-232) and index.
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|a Print version record.
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|a Introduction : socialism and the big-hearted silliness of Soviet popular culture -- pt. I. The philosophy and socialist status of the animated Epoché -- Is the philosophy of Soviet animation an anomaly? -- Cartography : mapping the status of phenomenology in the Soviet Union -- pt. II. The provenance of animated phenomenology -- Several paradoxes of Soviet realism and Disney's unexpected alternative -- The annals of Soviet animation : consciousness versus historicism. From World War Two until 1970 ; From 1970 to the present -- pt. III. Journalism and the Vox populi -- Realism : the press and public respond -- Originality : innovation and the tenacity of logocentrism and profiteering -- Humour : minor modes and major politics -- Music : the remarkable, kind laws of the "land of animation" -- Conclusion -- Notes -- Bibliography -- Filmography -- Screenplays -- Index.
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|a English.
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|a "In 1999, Boris Yeltsin passed a resolution to resurrect the biggest cartoon studio in Eastern Europe, Soiuzmul'tfil'm. From the mid-1930s until its forced demise in the mid-1990s, the studio had produced more than 1,500 films. Yeltsin felt it important that Soiuzmul'tfil'm be restored to its former glory, and even proposed keeping its original name, a nationally famous acronym made from the three Russian words for "union" (soiuz), "animation" (mul'tiplikatsiia) and "film" (fil'm). But the union referred to had vanished in 1991. Was reviving the studio a nostalgic paean to communism?" "David MacFadyen reveals that Soiuzmul'tfil'm, upon reopening, continued doing what it had since its inception in 1936, when it was the only Russian studio able to take cartoons from sketchbook to the silver screen. In a historical and theoretical reassessment of animated cinema in Russia since World War Two, Yellow Crocodiles and Blue Oranges examines a large number of Soviet cartoons to decipher what about them allowed them to survive under communism and continue to survive with equal success under capitalism."--Jacket
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|a JSTOR
|b Books at JSTOR Demand Driven Acquisitions (DDA)
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|a JSTOR
|b Books at JSTOR All Purchased
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650 |
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|a Animated films
|z Soviet Union
|x History and criticism.
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650 |
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|a Animated films
|z Russia (Federation)
|x History and criticism.
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650 |
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|a Phenomenology.
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650 |
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|a Dessins animés
|z Russie
|x Histoire et critique.
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650 |
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|a Phénoménologie.
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650 |
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|a phenomenology.
|2 aat
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|a PERFORMING ARTS
|x Animation.
|2 bisacsh
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|a Animated films
|2 fast
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|a Phenomenology
|2 fast
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|a Russia
|2 fast
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|a Soviet Union
|2 fast
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|a Animationsfilm
|2 gnd
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|a Russland
|2 gnd
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|a Animerad film
|x historia
|z Sovjetunionen.
|2 sao
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|a Animerad film
|x historia
|z Ryssland.
|2 sao
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650 |
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|a Animerad film, Sovjetunionen.
|2 sfit
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|a Electronic books.
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|a Criticism, interpretation, etc.
|2 fast
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776 |
0 |
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|i Print version:
|a MacFadyen, David, 1964-
|t Yellow crocodiles and blue oranges.
|d Montreal ; Ithaca : McGill-Queen's University Press, ©2005
|z 0773528717
|w (DLC) 2006411725
|w (OCoLC)57166569
|
856 |
4 |
0 |
|u https://jstor.uam.elogim.com/stable/10.2307/j.ctt7zws1
|z Texto completo
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