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022_000055/0000

War Matters. Constructing Images of the Other (1930s to 1950s)

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Field of science
Antropológia, néprajz / Anthropology, ethnology (12857), Kultúrakutatás, kulturális sokféleség / Cultural studies, cultural diversity (12950), Társadalomszerkezet, egyenlőtlenségek, társadalmi mobilitás, etnikumközi kapcsolatok / Social structure, inequalities, social mobility, interethnic relations (12525), Vizuális művészetek, előadóművészetek, dizájn / Visual arts, performing arts, design (13046)
Type of publication
tanulmánykötet
022_000055/0303
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Seite 304 [304]
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022_000055/0303

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302 Oleg Riabov References Abramov A. 1948 - AőpamoB A. 1948. “Pyccknit Bompoc”—rema, repoii, buJIbM ( "Russian Ouestion"— The Theme, the Hero, and the Film’). Hexyccmeo xuno, no. 2, pp. 13-17. Aleksandrov G. 1976 = Anexcangpos T. 1976. Inoxa u xuno (“The Epoch and Cinema). Mocksa: TlonmutTu3yar. Barth F. 1969. Introduction. In: Barth E (ed.) Ethnic Groups and Boundaries: The Social Organization of Culture Difference. London: Bergen, pp. 9-38. Beumers B. 2009. A History of Russian Cinema. Oxford & New York: Berg Publishers. Caute D. 2005. The Dancer Defects: the Struggle for Cultural Supremacy during the Cold War. Oxford: Oxford University Press. Clark S. 2000. Cold Warriors: Manliness on Trial in the Rhetoric of the West. Carbondale: Southern Illinois University Press. Collins PH. 2000. Gender, Black Feminism, and Black Political Economy. Annals of the American Academy of Political and Social Science, vol. 568, no. 1, pp. 41-53. Crenshaw K.W. 1991. Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color. Stanford Law Review, vol. 43, no. 6, pp. 1241-1299. Davies S. 2004. Soviet Cinema and the Early Cold War: Pudovkin’s Admiral Nakhimov in Context. In: Mitter R. & Major R. (eds) Across the Blocs: Cold War Cultural and Social History. London: Routledge, pp. 49-70. Dobrenko Y. 2008. Stalinist Cinema and the Production of History. Edinburgh: Edinburgh University Press. Enloe C.H. 1983. The Morning Afier: Sexual Politics at the End of the Cold War. Berkeley: University of California Press. Eriksen T.H. 2002. The Sexual Life of Nations: Notes on Gender and Nationhood. Kvinner, kon og Jorskning, no. 2, pp. 52-65. Fedorov A. 2010 = ®enopos A. 2010. O6pa3bI XO101HOH BOÜHBI: IIPOEKIIMA HOJIHTUKH IIPOTUBOCTOSHHA HA oxpaue (“The Images of the Cold War: Projections of the Politics of Confrontation to the Screen’). IIoruc, no. 4, pp. 48-64. Frank J.D. 1967. Sanity and Survival: Psychological Aspects of War and Peace. New York: Random House. Gillespie D. 2002. Russian Cinema. New York: Longman. Goscilo H. & Lanoux A. 2006. Introduction: Lost in the Myths. In: Goscilo H. & Lanoux A. (eds) Gender and National Identity in Twentieth-Century Russian Culture. DeKalb: Northern Illinois University Press, pp. 3-29. Grachiov V. 1950 = Ipaues B. 1950. Bompocsi cemetinoit mopanu B kuHoHckycerse (“Ihe Issues on the Family Morality in the Art of Cinema’). Hcxyccmeo xuno, no. 2, pp. 11-15. Griffith R. 2001. The Cultural Turn in Cold War Studies. Reviews in American History, vol. 29, no. 1, pp. 150-157. Haynes J. 2003. New Soviet Man: Gender and Masculinity in Stalinist Soviet Cinema. Manchester: Manchester University Press. Heller D. 2005. A Passion for Extremes: Hollywood’s Cold War Romance with Russia. Comparative American Studies, vol. 3, no. 1, pp. 89-110.

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