Auswahl der wissenschaftlichen Literatur zum Thema „Pelican (Firm)“
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Zeitschriftenartikel zum Thema "Pelican (Firm)"
Azis, Moch Abdul, Nur Hadianto, Jaja Miharja und Saifulloh Rifai. „IMPLEMENTASI ALGORITMA APRIORI UNTUK ANALISA PEMILIHAN TIPE GENRE FILM ANIME (STUDI KASUS : MYANIMELIST.NET)“. Jurnal Pilar Nusa Mandiri 14, Nr. 2 (15.09.2018): 209. http://dx.doi.org/10.33480/pilar.v14i2.932.
Der volle Inhalt der QuelleSiti Aijah, Nur Ainun Hasibuan und Hadijah Sipahutar. „PENGARUH KINERJA KEUANGAN TERHADAP NILAI PERUSAHAAN PADA PT. CAHAYA PELITA ANDHIKA“. CEMERLANG : Jurnal Manajemen dan Ekonomi Bisnis 2, Nr. 4 (16.11.2022): 218–29. http://dx.doi.org/10.55606/cemerlang.v2i4.537.
Der volle Inhalt der QuelleTsivian, Yu. „Joan Neuberger’s This Thing of Darkness“. Modern History of Russia 11, Nr. 1 (2021): 248–51. http://dx.doi.org/10.21638/11701/spbu24.2021.119.
Der volle Inhalt der QuelleTerekhova, V. I., und A. V. Konstantinovich. „Influence of types of eggplant plant formation on productivity in the conditions of summer-autumn turnover in film greenhouses“. Vegetable crops of Russia, Nr. 3 (30.07.2020): 36–38. http://dx.doi.org/10.18619/2072-9146-2020-3-36-38.
Der volle Inhalt der QuelleStinton, Darrol. „Aero-marine design and flying qualities of floatplanes and flying-boats“. Aeronautical Journal 91, Nr. 903 (März 1987): 97–127. http://dx.doi.org/10.1017/s0001924000091375.
Der volle Inhalt der QuelleSuryanto, Suryanto. „Konsep Ideologi Terhadap Film Demi Ucok Karya Simmaria Simanjuntak“. PROPORSI : Jurnal Desain, Multimedia dan Industri Kreatif 7, Nr. 2 (27.05.2022): 178. http://dx.doi.org/10.22303/proporsi.7.2.2022.178-186.
Der volle Inhalt der QuelleAulia, Azwani, und Rosa Fitriana. „Praktik Green Accounting dan Economic Value Added terhadap Firm Value“. In Search 22, Nr. 2 (24.01.2024): 386–95. http://dx.doi.org/10.37278/insearch.v22i2.794.
Der volle Inhalt der QuelleJaya, Eko Pebrian, und Dwi Aji Budiman. „REALITAS SOSIAL KEKERASAN TERHADAP PEREMPUAN DALAM FILM 7 HATI 7 CINTA 7 WANITA“. Jurnal Kaganga: Jurnal Ilmiah Sosial dan Humaniora 4, Nr. 2 (10.10.2020): 58–66. http://dx.doi.org/10.33369/jkaganga.4.2.58-66.
Der volle Inhalt der QuelleAbdullah, Zulfhazli Zulfhazli, Wesli Wesli und Said Jalalul Akbar. „PENGGUNAAN ABU BATU BARA SEBAGAI FILLER PADA CAMPURAN ASPAL BETON AC-BC“. Teras Jurnal 6, Nr. 2 (19.03.2017): 121. http://dx.doi.org/10.29103/tj.v6i2.95.
Der volle Inhalt der QuelleKoskimaa, Raine. „Game of Thrones -pelin Let's Play -videot ja populaarikulttuurin vastaanotto esityksenä“. Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 32, Nr. 3 (06.12.2019): 7–25. http://dx.doi.org/10.23994/lk.87955.
Der volle Inhalt der QuelleBücher zum Thema "Pelican (Firm)"
The Firm / The Pelican Brief. London: Arrow, 1999.
Den vollen Inhalt der Quelle finden1929-, Edwards Russell, und Hare Steve, Hrsg. Pelican books: A sixtieth anniversary celebration. [Edinburgh]: Penguin Collectorsʹ Society, 1997.
Den vollen Inhalt der Quelle findenDetmar, Schäfer. Pelikan, the brand. Hannover: Leuenhagen & Paris, 2013.
Den vollen Inhalt der Quelle findenL'affaire pelican. Paris: Robert Laffont, 2001.
Den vollen Inhalt der Quelle findenGrisham, John. Cazul pelican. Bucuresti: RAO International, 2001.
Den vollen Inhalt der Quelle findenGrisham, John. Il rapporto pelican. Milan: Arnoldo Mondadori Editore, 1993.
Den vollen Inhalt der Quelle findenThe Pelican Brief. 4. Aufl. New York, USA: Island Books, 1999.
Den vollen Inhalt der Quelle findenGrisham, John. The Pelican Brief. London: Random House Group Limited, 2010.
Den vollen Inhalt der Quelle findenThe Pelican Brief. New York, USA: Doubleday, 1992.
Den vollen Inhalt der Quelle findenGrisham, John. The pelican brief. New York: Random House Large Print, 2004.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Pelican (Firm)"
Çiçekoğlu, Feride. „Female Agency in Pelin Esmer Films: The Play (2005) and Queen Lear (2019)“. In Female Agencies and Subjectivities in Film and Television, 27–43. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56100-0_3.
Der volle Inhalt der QuelleDiLello, Giovanna. „John Fante: The Passion That Became a Festival“. In John Fante's Ask the Dust, 177–92. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823287864.003.0011.
Der volle Inhalt der Quelle„Kees Kasander’s producing career has been dominated by his collaboration with a single lmmaker—the British director Peter Greenaway. Kasander rst became aware of Greenaway’s work in the early 1980s and was smitten. The moment of epiphany came when he saw a Greenaway retrospective at the Edinburgh Film Festival and recognized a director whose preoccupations matched his own. Within reason, the Dutch producer will do anything he can to help Greenaway realize his artistic vision. At a time when British broadcasters and public funders have largely spurned Greenaway, Kasander has enabled him to go on working. Kasander started working with Greenaway on A Zed & Two Noughts (1986) and the two have subsequently made Drowning by Numbers (1988), The Cook, the Thief, His Wife, and Her Lover (1989), Prospero’s Books (1991), The Baby of Mâcon (1993), The Pillow Book (1996), 8½ Women (1999), The Tulse Luper Suitcases (2003), and Nightwatching (2007), among other audiovisual work. The bond between the producer and Greenaway remains as strong as ever. At the time of the interview, work was almost complete on Greenaway’s new feature, Goltzius and the Pelican Company, and Kasander was already beginning to crank up Greenaway’s next project, Food for Love (an adaptation of Thomas Mann’s Death in Venice). Alongside his lms with Greenaway, the producer has a very successful parallel career. The Kasander Film Company, based in Rotterdam, specializes in making kids’ movies, documentaries, and multimedia work and exhibitions. Kasander has also worked with plenty of other directors with strong personal visions too, among them Andrea Arnold (Fish Tank, 2009); Sophie Fiennes (The Pervert’s Guide to Cinema, 2006; Over Your Cities Grass Will Grow, 2010); Larry Clark (Ken Park, 2002); Paul Tickell (Christie Malry’s Own Double-Entry, 2000), and Ben Sombogaart (Crusade in Jeans, 2006).“ In FilmCraft: Producing, 85–87. Routledge, 2013. http://dx.doi.org/10.4324/9780240823881-30.
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