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Encuadernación
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Publicado por Lur Publications
Librería: Table of Contents, Omaha, NE, Estados Unidos de America
Original o primera edición
Good+. 2000. 238 pp. 8vo. Trade paperback. General wear to edges/corners.
Publicado por Pearson Education, 1982
ISBN 10: 0853126305ISBN 13: 9780853126300
Librería: Books Puddle, New York, NY, Estados Unidos de America
Libro
Condición: New.
Publicado por Pearson Education, 1982
ISBN 10: 0853126305ISBN 13: 9780853126300
Librería: Majestic Books, Hounslow, Reino Unido
Libro
Condición: New.
Publicado por Harwood & Charles Pub Co, 1982
ISBN 10: 0853124353ISBN 13: 9780853124351
Librería: Hay-on-Wye Booksellers, Hay-on-Wye, HEREF, Reino Unido
Libro
Hardcover. Condición: Very Good. slight shelfwear and faidng to spine.light creasing to frontcover.
Publicado por Prentice Hall Europe (a Pearson Education company), 1982
ISBN 10: 0853126305ISBN 13: 9780853126300
Librería: dsmbooks, Liverpool, Reino Unido
Libro
Paperback. Very Good Dust Jacket may be missing.CDs may be missing. book.
Publicado por Buenos Aires, 1979
Librería: Chaco 4ever Books, Montevideo, MO, Uruguay
Revista / Publicación Original o primera edición
Sin Encuadernar. Condición: Muy bien. 1ª Edición. Poster of the film. 1,07 mts x 72,5 cm. Based on Jorge Luis Borges s book. Very good condition. Christensen filmed a lot and varied, both in Argentina and Brazil, but his best films share a peculiar characteristic: they do not resemble anything that others were doing in that same place and time. The same goes for La intrusa, which does not recognize affiliations in its way of representing a minimal incident that Borges's prose hardly suggests. His audacity led to a total ban in Argentina, which lasted until the return of democracy at the end of 1983. The controversy over the greater or lesser fidelity of adaptation, at this point, does not matter to anyone. What remains is the style that Christensen invented for this film, a way of thinking about time and landscape and the weight of both on the protagonists. The dialogues are few and brief: Christensen does speak, instead, to light, wind and bodies, in two of the most expressive sex scenes of all Latin American cinema. The intrusion of the title barely manifests itself in all the footage, but Christensen is more generous with it than Borges himself, and invents a masterful scene, near the end and with an insect, which is emotional and ominous at the same time. W32.