"Detours and Lost Highways begins with the Orson Welles film, Touch of Evil (1958), which featured Welles both behind and in front of the camera. That movie is often cited as the end of the line, noir's rococo tombstone.the film after which noir could no longer be made, or at least could no longer be made in the same way. It is my belief, Hirsch writes, that neo-noir does exist and that noir is en...

Cod. 11269 / Cinema / Brochura / Descrição: Sem uso, impecavel, brochura capa branca, com impressao em papel couché cores e preto e branco

296 páginas, livro pegou umidade, folhas com manchas e ondulações, ainda em bom estado para leitura, foto do próprio livro. Enviamos mais fotos por e-mail e whatsapp.

(Estoque N1710) Capa, contracapa e lombada preservadas; bordas e miolo preservados, levemente amarelados pelo tempo, o que não interfere na leitura, bordas com leves marcas de manuseio; algumas páginas possuem grifos de marca texto, o que não impede a leitura da obra; quantidade de páginas: 248. Para mais detalhes solicitar foto. *Love, Sex, Death and The Meaning of Life - The Films of Woody Allen...

Formato 13 X 19 cm. Com 156 págs. Brochura. Livro em bom estado de conservação. Capa e lombada com desgastes nas extremidades, miolo ok! Sem sinais de grifos e anotações. Páginas e corte das páginas amarelados devido á ação do tempo. Idioma em Inglês. Obra com fotografias pb. Sinopse: Over the years Elizabeth Taylor has matured from the appealing, fresh-faced young girl of National Velvet to the p...

Brochura com capa e lombada vincadas e desgastadas. Miolo e cortes amarelados devido a ação do tempo. Adesivo colado na primeira página. Sem marcas de leitura. 160 páginas. RV104

Bom estado.

livro em otimo estado conservado woody allen has carved out a unique place for himself in american movies, becoming our national auteur as well as the most prolific director in the country, and creating a singular world with each film he has released since his first movie in 1969. foster hirsch analyzes and celebrates that world in this expert study of the themes, visual style, and acting in each...

Livro em ótimo estado. Páginas sem riscos, grifos ou rasuras. Livro tamanho grande. Capa dura. Com luva. idioma em Inglês.

Livro em bom estado. -- Falsa folha de rosto com assinatura, restante das páginas limpas e em muito bom estado, perfeita leitura. Miolo firme. Lombada conservada. Corte com sinais de poeira. Capa com sinais de uso. Sem riscos ou grifos.

exemplar capa dura com sobrecapa em bom estado de conservaçao, com sobrecapa, bordas e paginas amareladas devido ao tempo . livro em ingles.

ID 1418502 Lombada e capas com pouco desgaste, poucos sinais de manuseio e de oxidação no conteúdo impresso.

SKU: 22635388. Condição: USADO. Acabamento: Brochura, Página: 160. brochura 13 x 19, 5 cm 160 pgs; miolo com marca de umidade na parte inferior, com marcas a lápis em algumas páginas do livro, bordas e páginas amareladas, capa com marcas de manuseio, com manchas de umidade, com desgastes na superfície e em todas as bordas e com rasgo próximo à lombada, lombada com desgastes nas partes superior e i...

Detours and Lost Highways begins with the Orson Welles film, Touch of Evil (1958), which featured Welles both behind and in front of the camera. That movie is often cited as the end of the line, noirs rococo tombstone.the film after which noir could no longer be made, or at least could no longer be made in the same way. It is my belief, Hirsch writes, that neo-noir does exist and that noir is enti...

Detours and Lost Highways begins with the Orson Welles film, Touch of Evil (1958), which featured Welles both behind and in front of the camera. That movie is often cited as the end of the line, noirs rococo tombstone.the film after which noir could no longer be made, or at least could no longer be made in the same way. It is my belief, Hirsch writes, that neo-noir does exist and that noir is enti...

Detours and Lost Highways begins with the Orson Welles film, Touch of Evil (1958), which featured Welles both behind and in front of the camera. That movie is often cited as the end of the line, noirs rococo tombstone.the film after which noir could no longer be made, or at least could no longer be made in the same way. It is my belief, Hirsch writes, that neo-noir does exist and that noir is enti...

Detours and Lost Highways begins with the Orson Welles film, Touch of Evil (1958), which featured Welles both behind and in front of the camera. That movie is often cited as the end of the line, noirs rococo tombstone.the film after which noir could no longer be made, or at least could no longer be made in the same way. It is my belief, Hirsch writes, that neo-noir does exist and that noir is enti...

Detours and Lost Highways begins with the Orson Welles film, Touch of Evil (1958), which featured Welles both behind and in front of the camera. That movie is often cited as the end of the line, noirs rococo tombstone.the film after which noir could no longer be made, or at least could no longer be made in the same way. It is my belief, Hirsch writes, that neo-noir does exist and that noir is enti...

Detours and Lost Highways begins with the Orson Welles film, Touch of Evil (1958), which featured Welles both behind and in front of the camera. That movie is often cited as the end of the line, noirs rococo tombstone.the film after which noir could no longer be made, or at least could no longer be made in the same way. It is my belief, Hirsch writes, that neo-noir does exist and that noir is enti...

Detours and Lost Highways begins with the Orson Welles film, Touch of Evil (1958), which featured Welles both behind and in front of the camera. That movie is often cited as the end of the line, noirs rococo tombstone.the film after which noir could no longer be made, or at least could no longer be made in the same way. It is my belief, Hirsch writes, that neo-noir does exist and that noir is enti...

Detours and Lost Highways begins with the Orson Welles film, Touch of Evil (1958), which featured Welles both behind and in front of the camera. That movie is often cited as the end of the line, noirs rococo tombstone.the film after which noir could no longer be made, or at least could no longer be made in the same way. It is my belief, Hirsch writes, that neo-noir does exist and that noir is enti...

Detours and Lost Highways begins with the Orson Welles film, Touch of Evil (1958), which featured Welles both behind and in front of the camera. That movie is often cited as the end of the line, noirs rococo tombstone.the film after which noir could no longer be made, or at least could no longer be made in the same way. It is my belief, Hirsch writes, that neo-noir does exist and that noir is enti...