520:, but a review described it as having "dizzying wipes, multiple superimpositions and vertiginous camera movements." Released in 1928, The Last Moment received rave reviews and was a financial hit. Charlie Chaplin praised it and writer Tamar Lane called it "one of the most remarkable films that has ever been presented on the screen." With the film's success and Fejos' overnight celebrity status, major studios were suddenly competing for the former vagrant to sign contracts with them. He settled with
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encapsulations imply a different sort of relationship to his characters. The rapid cutting between details in a brothel, conveying Marie's confusion before fainting, encourages an identification with sensations, not thoughts or feelings. The beauty of
Annabella's performance and a violin-and-clarinet theme also help one overlook some of the more reductive aspects of the folk legend that define the films dimensions.
255:, Fejos worked as a medical orderly for the Imperial Austrian Army on the Italian front lines and also managed a theater that performed for troops. After the war, he returned to Budapest and eventually worked for the Orient-Film production company. He began to direct films in 1919 or 1920 for Mobil Studios in Hungary until he escaped in 1923 to flee the White Terror and the
311:. Shortly before Fejos was born, his father sold his business and moved the family to Budapest to buy a shop there. Desiré died of a heart attack before the new shop was purchased. Paul was then raised by his mother in his grandparents' home. As a boy, Fejos was said to be a smart student and to have loved films from an early age. He was sent to a school run by
575:. Lonesome was the first of three already completed movies to which Universal added sound, with no input from Fejos on the dialogue sequences. This new version of the film was released on September 20, 1928. (After this first hastily accomplished phase, Universal continued using Fox's equipment to make its own first all-talking movie,
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Spitz agreed and gave Fejos $ 5,000, which was approximately 1 percent of the average film budget at that time. In
October 1927, Fejos began production on his first American feature. He convinced actor friends to appear in the film for free, promising compensation if the movie were successful. That included
445:. In October 1923, Fejos emigrated to the United States. He arrived in New York City penniless and speaking little English, but managed to get several low-paying jobs at funeral parlors and piano factories. His English improved and, by the spring of 1924, Fejos got a job as a laboratory technician at the
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Having fallen in love with
Annabella, Fejos allegedly flew in a small plane over her train back to France and showered it with roses. Fejos's friend John W. Dodds has stated that "every time moved to another country, it was because of an ending love affair." Fejos spent the next few years throughout
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Spring Shower also has nocturnal lighting and sensuality in Marie's seduction, as well as a mysterious musical aftermath, reminiscent of certain rustic night scenes in
Sunrise. Unlike the determinism of Murnau's compositions and camera movements, though, Fejos' anthropological distance and fairy-tale
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to direct early sound films in France. Fejos complained to a reporter that
Hollywood was too commercial and like a drug for the public. The Hollywood-fantasy happy endings simply blinded working people from their hopeless lives, he said. "(I)f the movie theaters were suddenly closed in America, there
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and stealing oranges from orchards. On one of his hitchhiking trips, Fejos was picked up by Edward Spitz, a rich, young New Yorker who had recently moved to
Hollywood with ambitions to produce films. Fejos told Spitz about his movie career in Hungary and convinced Spitz to finance a feature film.
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In 1958, Fejos married anthropologist Lita Binns. She succeeded him as the Wenner-Gren
Foundation research director after he died on 23 April 1963. "Fejos had the temperament of an artist rather than a scholar or research scientist," David Bidney wrote in an obituary. Fejos "supported not only
490:, an inexperienced cameraman. Fejos utilized sets from other movies and changed the script when necessary for the settings. When actors or sets were unavailable, Fejos filmed close-ups of hands, feet, cars or anything else that stuck him as interesting. He obtained free film stock from the
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during the last years of the life of this eccentric genius is but one outstanding example...(Fejos) leaves behind him the Wenner-Gren
Foundation for Anthropological Research which he built, an international host of friends whom he helped, and a wife whom he cherished and appreciated."
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and begin a romance, but lose each other until finally reunited back at their building. The film was hand-tinted and stencil-colored at many points, making it already visually distinctive. After
Lonesome went into general release as a silent film in mid-June 1928, Universal borrowed a
449:. He earned $ 80 a week and was employed there for two years. In 1925, he married a co-worker, Mimosa Pfalz, but the marriage lasted just thirty days. While living in New York, Fejos landed one theater gig as a technical adviser ensuring the Hungarian atmosphere of an adaptation of
883:. Fejos loved the country so much that he stayed for nine months. He filmed over 30,000 feet of footage of animals, plants, tribal societies and local customs, all of which was unusable for a theatrical feature. He also collected many artifacts and eventually donated them to the
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to Dezső (Desiré) Fejős and his wife
Hajnalka (latinized Aurora, née Novelly). He had an older sister, Olga Fejős. Like many film directors, Fejos exaggerated or invented myths for large portions of his life story and, according to him, his father was a captain with the
813:) in 1932 was Fejos' second Hungarian film. It includes beautiful documentary-like footage of local fishermen and their everyday lives. The movie was highly criticized in Hungary, however, for its depiction of the fisherman and accused of bigotry against village life.
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as a young girl, Marie, who is seduced and abandoned with a child. She dies in poverty only to find herself having to scrub floors in Heaven. By dumping her wash bucket, she creates a rain storm that prevents her growing daughter from repeating Marie's mistakes.
824:), again starring Annabella. The film focused on unemployment and poverty in post-World War I Austria and was praised by critics as "the summit of Fejos' art in Europe...too often ignored by the critics." Later that year, Fejos made the light comedy
342:. During the war he also managed a theater that performed for the troops. Some additional myths about Fejos' life surfaced a year later that he was an officer in the Hussars, was wounded three times and that he was the first person to pilot a
346:. After the war, Fejos returned to Budapest. He began working as a set painter for an opera company and then eventually for the Orient-Film production company. He and Mara divorced in 1921, due allegedly to Fejos' irrational jealousy.
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In 1941, Fejos stopped traveling and making films to become both the director of research and acting head of the Viking Fund, a non-profit foundation based in New York City that Wenner-Gren created that year (and later renamed the
270:. After a number of other successful films, Fejos left America in 1931 to direct sound films in France. In 1941, he stopped making films altogether and became the director of research and the acting head of the Viking Fund.
393:. Fejos always saw film as closer to painting than to theater and was more concerned about issues of light and shadow than story. He also stated at the time that no great film would be made until it could be shot in
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told Fejos about a legendary lost city somewhere in the jungle. Fejos immediately contacted Wenner-Gren, who agreed to give additional financing for the expedition. The filmmaker discovered 18 ancient
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would be a revolution", Fejos added, but that, in Europe, he hoped for "films made in the name of art". His career in France was short-lived, beginning with his supervision in 1931 of Claude Heymann's
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as a man committing suicide by drowning who remembers in flashbacks the events of his life leading up to his death. The seven-reel, silent movie contained no title cards. It is currently a
1055:). Fejos became highly respected in his field and was considered ahead of his time for calling for communication amongst various branches of anthropology. Fejos taught during this time at
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stated that although "its visual style, initially attractive, becomes a monotonous succession of busy shots, dissolving over each other in a perpetual flurry... the films charm is real."
1014:. They became fast friends and Wenner-Gren changed Fejos' life much as Edward Spitz had a decade earlier. Wenner-Gren agreed to finance in late 1939 an expedition by Fejos to Peru. In
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who worked in a number of countries including the United States. He also studied medicine in his youth and became a prominent anthropologist later in life. During
326:. He eventually studied medicine and, in 1921, received an M.D. from the Royal Hungarian Medical University of Budapest. In 1914, Fejos married Mara Jankowsky.
581:- which is also the first-ever film musical - in under two week. That led a chagrined and angry crew from Fox to repossess its sound truck from Universal.)
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When he arrived in Hollywood, Fejos struggled financially. He landed a few odd jobs working on scripts. Sometimes he would survive by hitchhiking to
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By 1935, Fejos had grown tired of narrative movies and their inauthentic sets and stories. Nordisk Film sent him to scout filming locations in
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different European countries, often with his frequent collaborators Lothar Wolff, his assistant director, and Ferenc Farkas, his composer.
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as a stage magician who falls in love with his assistant. Later that year, Fejos began production on his largest and most ambitious film,
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nightclub set and a 28-ton camera crane that was the largest and most versatile one built by that time. The film starred Glenn Tryon and
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regime. He made his way to New York City and then eventually to Hollywood where he began production on his first American feature film,
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research projects(,) but also, and primarily. individuals whom he trusted and considered worthy of support...His personal support of
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saw the Madagascar footage and commissioned a series of six short documentaries released between 1935 and 1936. These films included
567:. On the pretext of making sound tests (their own sound stages would not be ready until late October), Universal hurriedly recorded "
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called Lonesome it "a tender love story in its silent passages... crude, clumsy and tediously tongue-tied in its talkie passages."
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from 1937 to 1938 in such countries as Indonesia, the Philippines, New Guinea, Ceylon and Thailand. These movies included
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received the official directing credit. This angered Fejos and continued when Universal did not let him direct
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was another box office hit for Fejos and the film's reputation has grown throughout the years. French cineaste
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play two lonely New Yorkers who live in adjoining apartments unbeknownst to each other. They meet by chance at
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was another box office success in 1929 for Universal Studios. Part sound and part silent, the film starred
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in 1942.) Film critic Miles Krueger said "the images of the Paradise Club and the huge musical number (
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shortly afterwards. That only led to Fejos directing the German and French language versions of
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Fejos began directing films in either 1919 or 1920 for Mobil Studios in Hungary. His earliest
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under Dr. Thompson. Svensk Filmindustri then commissioned Fejos to make a series of
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in October 1927. The film proved to be popular, which allowed him to sign with
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Returning in 1938 from filming in Thailand, Fejos met Swedish industrialist
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briefly employed him. Fejos then headed to Berlin and worked as an extra in
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based on a newspaper article about loneliness in modern American cities.
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In 1930, Fejos became an American citizen and began filming the musical
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Film director, anthropologist, screenwriter, medical orderly, researcher
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Fejos then moved to Paris and staged an unsuccessful production of
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tribe. The research resulted in Fejos' final series of films,
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In 1934, Fejos moved to Denmark and made three films for the
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In 1931, Fejos left Hollywood, accepting an invitation from
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because its contract offered him complete artistic control.
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by the Viking Fund Series of Publications in Anthropology.
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235:(24 January 1897 – 23 April 1963), known professionally as
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seems indebted to the city and amusement park scenes in
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Fejos broke his contract with Universal and signed with
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finish the movie, and Fejos received no screen credit.
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871:'s story about the relationship between art and life.
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1302:. Vienna, Austria: verlag filmarchiv Austria, Wien.
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background, while Fejos' father was a pharmacist in
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Wenner-Gren Foundation for Anthropological Research
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377:a film about police corruption in New York City;
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1361:Dodds, John W. (1963). "Eulogy for Paul Fejos".
1446:. The H. W. Wilson Company. 1987. pp. 315–319.
362:a fantasy based on the mythological character;
27:Hungarian-American filmmaker and anthropologist
1465:"Wenner-Gren Foundation profile of Paul Fejos"
644:based on the hit stage production produced by
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1026:cities and traveled to the headwaters of the
787:Jonathan Rosenbaum praised the film. Much as
769:In 1932, Fejos returned to Hungary to direct
330:started soon afterward and Fejos worked as a
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1046:Career as anthropologist and final years
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599:praised Lonesome and compared Fejos to
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1001:The Village Near Pleasant Fountain
911:The Most Useful Tree in the World,
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512:took 28 days to shoot. It starred
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887:. Upon Fejos' return to Denmark,
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751:Fejos then made the ambitious
717:All Quiet on the Western Front
626:Fejos's third Hollywood film,
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762:of the famous serial made by
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42:when mentioning individuals.
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1662:The Verdict of Lake Balaton
1340:"The Travels of Paul Fejos"
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1298:Büttner, Elisabeth (2004).
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908:Beauty Salon in the Jungle,
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239:, was a Hungarian-American
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1570:Lord Arthur Savile's Crime
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977:The Bamboo Age of Mentawei
546:produced the film. Actors
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416:. Fejos first traveled to
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297:Austrian-Hungarian Empress
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1521:The Travels of Paul Fejos
918:The Graves of our Father.
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1516:Literature on Paul Fejos
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1203:Flight from the Millions
38:. This article uses
30:The native form of this
1754:Hungarian ethnographers
1268:Att segla är nödvändigt
985:The Chief's Son is Dead
981:Bambuåldern på Mentawei
938:Flight of the millions,
920:In 1936, Fejos married
847:Flugten fra millionerne
1774:Visual anthropologists
1040:Ethnology of the Yagua
843:Flight of the millions
505:The finished project,
389:based on the novel by
336:Imperial Austrian Army
1769:Silent film directors
1369:(4). JSTOR: 405–407.
1244:Hövdingens son är död
989:Hövdingens son är död
969:The Tribe Still Lives
905:The Dancers of Esira,
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1625:and French versions)
1610:The Last Performance
1363:Current Anthropology
1147:Captain of the Guard
1131:The Last Performance
1080:Selected filmography
945:Museum of Copenhagen
936:. Arvad appeared in
930:1936 Summer Olympics
712:John Murray Anderson
685:Captain of the Guard
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387:The Queen of Spades,
198: 1936;
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142: 1914;
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1219:Prisoner Number One
889:Svensk Filmindustri
723:Metro Goldwyn Mayer
369:based on a play by
340:Italian front lines
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1469:www.wennergren.org
1150:(1930 Uncredited )
949:ethnographic films
741:Pierre Braunberger
703:He then worked on
597:Jonathan Rosenbaum
573:Joseph Cherniavsky
536:Edward T. Lowe Jr.
455:The Glass Slipper.
443:Walter Hasenclever
375:The Black Captain,
278:Fejos was born in
40:Western name order
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993:The Komodo Dragon
953:A Handful of Rice
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851:Prisoner Number 1
698:John S. Robertson
670:a new version of
666:William A. Seiter
613:Vsevolod Pudovkin
609:Sergei Eisenstein
534:from a script by
522:Universal Studios
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350:Early film career
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1472:. Retrieved
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601:F. W. Murnau
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552:Barbara Kent
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480:Georgia Hale
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410:White Terror
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156:Mimosa Pfalz
89:(1963-04-23)
35:
1744:1963 deaths
1739:1897 births
1342:. Criterion
855:Fange Nr. 1
690:Marsellaise
548:Glenn Tryon
502:companies.
463:Los Angeles
461:to move to
383:serial film
371:Oscar Wilde
328:World War I
309:Dunaföldvár
253:World War I
1733:Categories
1558:Paul Fejos
1507:Paul Fejos
1502:Wikisource
1498:Paul Fejos
1474:2012-07-21
1326:References
1320:Runkuraqay
1308:3901932313
922:Inga Arvad
881:Madagascar
646:Jed Harris
605:Fritz Lang
593:neorealism
426:Fritz Lang
274:Early life
237:Paul Fejos
212:Lita Binns
184:Inga Arvad
65:1897-01-24
49:Paul Fejos
1391:143884215
1108:lost film
1018:there, a
914:Sea Devil
841:company:
781:Annabella
710:on which
518:lost film
358:included
324:Kecskemét
284:Pál Fejős
233:Pál Fejős
114:1919–1963
59:Pál Fejős
36:Fejős Pál
18:Pál Fejös
1646:Fantômas
1602:Broadway
1594:Lonesome
1314:See also
1171:Fantômas
1123:Broadway
1115:Lonesome
1065:Columbia
1057:Stanford
869:Kaj Munk
789:Lonesome
754:Fantômas
694:Bastille
672:Broadway
640:Broadway
584:Lonesome
565:Fox Film
540:Tom Reed
530:Lonesome
475:Pasadena
420:, where
412:and the
334:for the
320:Veszprém
295:for the
280:Budapest
241:director
73:Budapest
1621:(1930,
1383:2739913
1262:Tambora
1106:(1928,
928:at the
794:Sunrise
438:L'Homme
338:on the
316:Fathers
313:Piarist
289:Hussars
224:
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119:Spouses
1709:Portal
1697:(1935)
1689:(1935)
1681:(1934)
1673:(1933)
1665:(1932)
1657:(1932)
1649:(1932)
1641:(1931)
1633:(1930)
1623:German
1613:(1929)
1605:(1929)
1597:(1928)
1589:(1928)
1581:(1923)
1573:(1920)
1450:
1389:
1381:
1306:
1288:(1941)
1282:(1939)
1276:(1938)
1270:(1938)
1264:(1938)
1258:(1937)
1252:(1937)
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1182:(1932)
1174:(1932)
1166:(1931)
1158:(1931)
1134:(1929)
1126:(1929)
1118:(1928)
1098:(1923)
1090:(1920)
999:) and
760:remake
658:cubist
569:talkie
492:DuPont
418:Vienna
385:; and
257:Horthy
97:, U.S.
1387:S2CID
1379:JSTOR
1346:5 May
1286:Yagua
1234:(1937
1036:Yagua
1032:Yagua
1024:Incan
1016:Cusco
688:(AKA
668:made
496:Kodak
459:Buick
395:color
218:(
214:
194:(
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165:(
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138:(
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1723:Film
1511:IMDb
1448:ISBN
1348:2014
1304:ISBN
1063:and
1061:Yale
916:and
652:and
611:and
550:and
538:and
500:Agfa
498:and
404:and
360:Pán,
247:and
200:div.
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144:div.
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