000			02076nam a2200325 i 4500
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001			111788
003			ES-MaUEC
005			20230302144546.0
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007			cr
008			150114s2013 xxu o 001 0 eng d
020			_a9780292752894 _qhardback
020			_a9780292752917 _qe-book
024	8		_aebr10768931
040			_aES-MaCSI. _bspa. _cEbrary _dES-MaUEC
050		4	_aPN1998.3.A52 _bS64 2013 EB
100	1		_aSperb, Jason _d1978- _9669860
245	1	0	_aBlossoms and blood : _bpostmodern media culture and the films of Paul Thomas Anderson _cJason Sperb
264		1	_aAustin _bUniversity of Texas Press _c2013
300			_a1 recurso en línea
336			_2rdacontent _aTexto (visual) _btxt
337			_2rdamedia _aelectrónico _bc
338			_2rdacarrier _arecurso electrónico _bcr
504			_aBibliografía e índices
505	8		_aMachine generated contents note: Acknowledgments -- Introduction. White-Noise Media Culture and the Films of Paul Thomas Anderson -- Chapter 1. I Remembered Your Face: Indie Cinema, Neo-noir, and -- Narrative Ambiguity in Hard Eight (1996) -- Chapter 2. I Dreamed I Was in a Hollywood Movie: Stars, Hyperreal Sounds of the 1970s, and Cinephiliac Pastiche in Boogie Nights (1997) -- Chapter 3. If That Was in a Movie, I Wouldn't Believe It: Melodramatic Ambivalence, Hypermasculinity, and the Autobiographical Impulse in Magnolia (1999) -- Chapter 4. The Art-House Adam Sandler Movie: Commodity Culture and the Ethereal Ephemerality of Punch-Drunk Love (2002) -- Chapter 5. I Have a Competition in Me: Political Allegory, Artistic Collaboration, and Narratives of Perfection in There Will Be Blood (2007) -- Afterword. On The Master -- Notes -- Select Bibliography -- Index
600	1	4	_aAnderson, Paul Thomas _d1970- _eembne _xCrítica e interpretación _987400
856	4	0	_uhttp://search.ebscohost.com//login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=642915 _zAcceso a este recurso digital (usuarios Universidad Europea de Madrid)
942			_2lcc _cLE
998			_b07/2019 _dz _ek _zSI