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No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press,  \nor as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available  \nLibrary of Congress Cataloging in Publication Data Data available  \nISBN 0–19–811257–2  \nISBN 0–19–874242–8 (Pbk.)  \n9 10  \nPrinted in Great Britain  \non acid-free paper by  \nButler & Tanner Ltd  \nFrome and London  \nI should like to dedicate this book to the memory of my father, who did not live to see it finished, and to my children, for their enjoyment.  \nThis page intentionally left blank  \nAcknowledgements  \nhis book has been a long time in preparation and in the course ofit I have received  \nTheticlrrm mo thaony quase whor, tearssw. lalmasgratdiliefugenltfilyrofritiall tong thmeirycoowrcorsibu,tanios in pato thre  \nbook, also acted as informal advisers on the project—notably Thomas Elsaesser, Charles Musser, Ashish Rajadhyaksha, and A. L. Rees. I also received specialist advice from Stephen Bottomore, Pam Cook, Rosalind Delmar, Hugh Denman, Joel Finler, June Givanni, David Parkinson, Jasia Reichert, and, most valuablyofall, from Markku Salmi. I had administrative help in the early stages from my niece Rebecca Nowell-Smith, and editorial assistance—all too briefly—from Sam Cook. For the last two years my Assistant Editor has been Kate Beetham, to whom my debt is indescribable. Lael Lowinstein helped with the bibliography. Picture research was conducted by Liz Heasman, whose knowledge and judgement are unrivalled in this tricky field. The tiresome work of tracing picture permissions devolved on Vicki Reeve and Diana Morris. For this normally thankless task they deserve particular thanks. And thanks, too, to my editors at the Oxford University Press, Andrew Lockett and Frances Whistler, especially for their patience.  \nTranslations are by Robert Gordon (Italy: Spectacle and Melodrama, The Scandinavian Style, Italy from Fascism to Neo-Realism, Italy: Auteurs and After); Gerald Brooke (The Soviet Union and  \nthe Russian ´Emigrs); Timothy Seaton (Cinema in the Soviet Republics); and Nina Taylor (Yiddish Cinema in Europe, East Central Europe before the Second World War, Changing States in East Central Europe) .  \nG.N.-S.  \nThis page intentionally left blank  \nRichard Abel (USA)  \nRick Altman (USA)  \nRoy Armes (UK) John Belton (USA)  \nJanet Bergstrom (USA) Chris Berry (Australia)  \nHans-Michael Bock (Germany) David Bordwell (USA)  \nRoyal Brown (USA)  \nEdward Buscombe (UK)  \nMichael Chanan (UK)  \nPaolo Cherchi Usai (USA)  ","cbCaidVBYZs1ZnGo","https://ap.wps.com/l/cbCaidVBYZs1ZnGo","pdf",22676843,483,"English","# Acknowledgements\n## Editorial and research support\n## Translations and contributor list","[{\"question\":\"Who is credited as the editor of Oxford History of World Cinema?\",\"answer\":\"The document credits Geoffrey Nowell-Smith as the editor.\"},{\"question\":\"What publication details are included in the front matter?\",\"answer\":\"It provides copyright and publication information, including dates, rights statements, ISBNs, and printing details.\"},{\"question\":\"Who contributed to acknowledgements and specialized advice?\",\"answer\":\"The acknowledgements list multiple specialist advisers, administrative and editorial helpers, and people involved in picture research and permissions tracing.\"}]","Oxford History of World Cinema - Dedication | PDF",169]