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|a 10.1515/9780822398981
|2 doi
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|a 22573/ctv1213113
|b JSTOR
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|a dlr
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|a PN1998.3.C69
|b L48 1995
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|a UAMI
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|a Lewis, Jon,
|d 1955-
|e author.
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|a Whom God wishes to destroy-- :
|b Francis Coppola and the new Hollywood /
|c Jon Lewis.
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|a Durham :
|b Duke University Press,
|c 1995.
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|a 1 online resource (194 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 text file
|b PDF
|2 rda
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|a Includes bibliographical references (pages 165-184) and index.
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|a Electronic reproduction.
|b [Place of publication not identified] :
|c HathiTrust Digital Library,
|d 2010.
|5 MiAaHDL
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|a Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002.
|u http://purl.oclc.org/DLF/benchrepro0212
|5 MiAaHDL
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|a digitized
|c 2010
|h HathiTrust Digital Library
|l committed to preserve
|2 pda
|5 MiAaHDL
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|a Print version record.
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|a Hollywood general -- The new Hollywood -- One from the heart -- The Zoetrope legacy -- Exile in Oklahoma : The outsiders and Rumble fish -- The cotton club -- Francis Coppola and the new new Hollywood.
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|a English.
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|a In March 1980 Francis Coppola purchased the dilapidated Hollywood General Studios facility with the hope and dream of creating a radically new kind of studio, one that would revolutionize filmmaking, challenge the established studio machinery, and, most importantly, allow him to make movies as he wished. With this event at the center of Whom God Wishes to Destroy, Jon Lewis offers a behind-the-scenes view of Coppola's struggle--that of the industry's best-known auteur--against the changing realities of the New Hollywood of the 1980s. Presenting a Hollywood history steeped in the trade news, rumor, and gossip that propel the industry, Lewis unfolds a lesson about power, ownership, and the role of the auteur in the American cinema. From before the success of The Godfather to the eventual triumph of Apocalypse Now, through the critical upheaval of the 1980s with movies like Rumble Fish, Hammett, Peggy Sue Got Married, to the 1990s and the making of Bram Stoker's Dracula and Kenneth Branagh's Frankenstein, Francis Coppola's career becomes the lens through which Lewis examines the nature of making movies and doing business in Hollywood today.
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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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|a Coppola, Francis Ford,
|d 1939-
|x Criticism and interpretation.
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|a Coppola, Francis Ford,
|d 1939-
|x Critique et interprétation.
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|a Coppola, Francis Ford,
|d 1939-
|2 fast
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|a Coppola, Francis Ford.
|2 swd
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|a PERFORMING ARTS
|x Reference.
|2 bisacsh
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|a PERFORMING ARTS / Film & Video / Direction & Production
|2 bisacsh
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|a Criticism, interpretation, etc.
|2 fast
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|i Print version:
|a Lewis, Jon, 1955-
|t Whom God wishes to destroy--
|d Durham : Duke University Press, 1995
|z 0822316021
|w (DLC) 94044270
|w (OCoLC)31606862
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|u https://jstor.uam.elogim.com/stable/10.2307/j.ctv1220mw9
|z Texto completo
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|a Internet Archive
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|a YBP Library Services
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|a De Gruyter
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