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6 “But only One, Juan Orol, is Fundamentally Different from the Rest”
Orolian Melodrama and Cursilería in the 1930s
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Nicolas Poppe
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Kapitel in diesem Buch
- Front Matter i
- Contents vii
- Illustrations ix
- Acknowledgments xv
- Alton's Paradox 1
- Hollywood, City of Dreams 15
- “The Biggest Revelation of Hispanic Cinema” 21
- Mexico City Dreams 61
- “The Best We Have in this Forsaken Place” 69
- “But only One, Juan Orol, is Fundamentally Different from the Rest” 121
- In the Studios of Buenos Aires 167
- “The Primary Champion of National Film” 175
- “A Man Expert in the Needs of the Set” 225
- Foreign Film Workers and the Emergence of Industrial Sound Film in Latin America 253
- Notes 263
- Bibliography 335
- Index 345
Kapitel in diesem Buch
- Front Matter i
- Contents vii
- Illustrations ix
- Acknowledgments xv
- Alton's Paradox 1
- Hollywood, City of Dreams 15
- “The Biggest Revelation of Hispanic Cinema” 21
- Mexico City Dreams 61
- “The Best We Have in this Forsaken Place” 69
- “But only One, Juan Orol, is Fundamentally Different from the Rest” 121
- In the Studios of Buenos Aires 167
- “The Primary Champion of National Film” 175
- “A Man Expert in the Needs of the Set” 225
- Foreign Film Workers and the Emergence of Industrial Sound Film in Latin America 253
- Notes 263
- Bibliography 335
- Index 345
