lost highway

Detours and lost highways

Código: 2239449 Nota: A presente obra encontra-se em bom estado de conservação, contém, apenas, algumas manchas amareladas causadas pelo tempo. Ano: 2003 Nº de páginas: 218 Formato: 14 x 21 Editora: Rowohlt Conservação da capa: Bom Estado Conservação do miolo: Bom Estado Acabamento: Capa Dura Idioma: Inglês

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...