...์˜ ๋…ธํŠธ์—์„œ


โ€น...์˜ ๋…ธํŠธ์—์„œโ€บ๋Š” ํ”ผ๋ Œ์ฒด์—์„œ ์ดฌ์˜๋œ ์ž‘ํ’ˆ์œผ๋กœ, ๋ ˆ์˜ค๋‚˜๋ฅด๋„ ๋‹ค๋นˆ์น˜์˜ ๋…ธํŠธ์™€ ๋‹ค๋นˆ์น˜์˜ ์ž‘์—… ๊ณผ์ •์„ ๋‹ค๋ฃฌ ํด ๋ฐœ๋ ˆ๋ฆฌ์˜ ์—์„ธ์ด๋ฅผ ์ถœ๋ฐœ์ ์œผ๋กœ ํ•œ๋‹ค. ์ด ๋‘˜์€ ๋ฅด๋„ค์ƒ์Šค ๋ฏธ์ˆ ๊ณผ ๋ฌด๋น™ ์ด๋ฏธ์ง€์—์„œ์˜ ๊ณต๊ฐ„ ์ฒ˜๋ฆฌ ๋ฐฉ์‹์„ ์•”๋ฌต์ ์œผ๋กœ ๋น„๊ตํ•œ๋‹ค. ๋„์‹œ์˜ ๊ฑด๋ฌผ๊ณผ ํŒŒ์‚ฌ๋“œ๋ฅผ ๋”ฐ๋ผ ์—ฌ๋Ÿฌ ์ฐจ๋ก€์˜ ๋น ๋ฅธ ํŒฌ๊ณผ ์ƒํ–ฅ ํ‹ธํŠธ๋ฅผ ๋ฐ˜๋ณต์ ์œผ๋กœ ์‚ฌ์šฉํ–ˆ๋‹ค๋Š” ์ ์—์„œ ์ด ์ž‘ํ’ˆ์€ ๋น„๋ฒ„์Šค์˜ ์ž‘ํ’ˆ ์„ธ๊ณ„์— ์žˆ์–ด ์ค‘์š”ํ•œ ์ „ํ™˜์ ์œผ๋กœ ์ž‘์šฉํ•˜๋ฉฐ, ๋น„๋ฒ„์Šค ๋ณธ์ธ์˜ ์–ผ๊ตด๋„ ์˜์ƒ ๊ณณ๊ณณ์— ์Šค์น˜๋“ฏ ๋‚˜ํƒ€๋‚˜๋„๋ก ํ‘œํ˜„ํ–ˆ๋‹ค. ๋น„๋ฒ„์Šค๊ฐ€ ์ด ์ž‘ํ’ˆ์— ๋Œ€ํ•ด ์ง์ ‘ ์“ด ๊ธ€์— ๋‚จ๊ธด ๋Œ€๋กœ, ์นด๋ฉ”๋ผ์˜ ์›€์ง์ž„์€ ์ž์‹ ์˜ ์กด์žฌ๋ฅผ ์•Œ๋ฆฌ๋Š” ๊ฒƒ๊ณผ ์—ฐ๊ฒฐ๋˜์–ด์žˆ์œผ๋ฉฐ ํƒ๊ตฌ์  ์‹œ์„ ์„ ์•”์‹œํ•œ๋‹ค.

๐Ÿ“… 1972-02-11

๐Ÿ‘ฌ 0.1286

โญ๏ธ 6.1


์ถœ์—ฐ/์ œ์ž‘์ง„

Himself

Robert Beavers

Directing

Himself

Gregory J. Markopoulos

Directing


๊ด€๋ จ ์˜ํ™”

Beyond Horror: The History and Sub-Culture of Red Films

ํ•„๋ฆ„์›Œ์ปค

Electro-Pythagorus: A Portrait of Martin Bartlett

๋ฒ ๋ฅผ๋ฆฐ: ๋Œ€๋„์‹œ ๊ตํ–ฅ๊ณก

Cinecittร , de Mussolini ร  la Dolce Vita

Modes of Masculinity: The Western and Red River

Tensions and Traditions: Molly Haskell on Red River

A Film of Firsts: Peter Bogdanovich on Red River

The Irreversible Odyssey

Twiggy

ะœะฐะนะพั€ ะ“ั€ะพะผ: ะงัƒะผะฝะพะน ะ”ะพะบั‚ะพั€. ะคะธะปัŒะผ ะพ ั„ะธะปัŒะผะต

์ง๊ณผ ์•ค๋””: ์ธ์ƒ๊ณผ ์—ฐ๊ธฐ ์‚ฌ์ด

Kill Your TV: Jim Moirโ€™s Weird World of Video Art

Like a Dream that Vanishes

60 Sekundit รœksindust Aastal Null

Before Hollywood There Was Fort Lee, N. J.

ํˆฌ ํ—ฌ ์•ค๋“œ ๋ฐฑ: ๋” ์ผ€์ธ ํ˜ธ๋” ์Šคํ† ๋ฆฌ

ํ˜ธ๋Ÿฌ ๋ฌด๋น„: ์–ด ๋กœ์šฐ ๋ฒ„์ง“ ๋‚˜์ดํŠธ๋ฉ”์–ด

์ผ๋ ‰ํŠธ๋ฆญ ๋ถ€๊ฐˆ๋ฃจ: ๋” ์™€์ผ๋“œ, ์–ธํ†จ๋“œ ์Šคํ† ๋ฆฌ ์˜ค๋ธŒ ์บ๋…ผ ํ•„๋ฆ„

Rummaging for Pasts