A Personal Journey with Martin Scorsese through American Movies. Episode 3, Part III.
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Citations
Scorsese, M., & Henry Wilson, M. (1995). A Personal Journey with Martin Scorsese through American Movies . British Film Institute.
Chicago / Turabian - Author Date Citation, 17th Edition (style guide)Scorsese, Martin and Michael, Henry Wilson. 1995. A Personal Journey With Martin Scorsese Through American Movies. [San Francisco, California, USA]: British Film Institute.
Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)Scorsese, Martin and Michael, Henry Wilson. A Personal Journey With Martin Scorsese Through American Movies [San Francisco, California, USA]: British Film Institute, 1995.
Harvard Citation (style guide)Scorsese, M. and Henry Wilson, M. (1995). A personal journey with martin scorsese through american movies. [San Francisco, California, USA]: British Film Institute.
MLA Citation, 9th Edition (style guide)Scorsese, Martin,, and Michael Henry Wilson. A Personal Journey With Martin Scorsese Through American Movies British Film Institute, 1995.
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Grouping Information
Grouped Work ID | e34bc43d-567b-f44b-7c1f-7e942f702161-eng |
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Full title | personal journey with martin scorsese through american movies episode 3 part iii |
Author | british film institute |
Grouping Category | movie |
Last Update | 2024-10-08 10:55:34AM |
Last Indexed | 2024-12-03 03:33:41AM |
Book Cover Information
Image Source | default |
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First Loaded | Aug 13, 2023 |
Last Used | Dec 12, 2024 |
Marc Record
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Last File Modification Time | Apr 25, 2023 01:33:49 PM |
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520 | |a Martin Scorsese's contribution to the Century of Cinema series is a fascinating exploration of some of the landmarks of American cinema, as well as some of its lesser known byways. Scorsese analyses the work of filmmakers as diverse as DW Griffith, FW Murnau, Sam Fuller and John Cassavetes. This is no academic history, but a declaration of passion for cinema from one of its most celebrated contemporary practitioners. This episode explores the concepts of "The Director as Iconoclast" and "The Director as Smuggler". | ||
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