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Informa el envío de un cheque endosado a la orden de Doris Dana, y de un recibo para ser firmado en triplicado.
Comenta que conoció a Gabriela Mistral en 1947, y que le comento que sus padres, y hermana fallecieron años atrás.
Informa que él y su hermana conocieron a Gabriela Mistral en Rapallo en 1951. Se refiere a los miembros de la familia de Gabriela, sobre los cuales tuvieron noticias a través de ella y quienes fallecieron con anterioridad.
Con una anotación a lápiz tinta al reverso de la carta.
Solicita el envio de 9 copias de un texto para entregar a una Fundación.
En atención a Mrs. Crohn, comunica el envío de documentos legales extendidos por Surrogate's Court in Nassau Conty, los cuales pide publicar en su periódico.
This is a new release of the original 1958 edition.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.