Arts & Cultural Studies Review, Issue 3 (21) , 2014, pp. 281 - 283
https://doi.org/10.4467/20843860PK.13.024.3182Arts & Cultural Studies Review, Issue 3 (21) , 2014, pp. 285 - 299
https://doi.org/10.4467/20843860PK.13.025.3183Arts & Cultural Studies Review, Issue 3 (21) , 2014, pp. 300 - 315
https://doi.org/10.4467/20843860PK.13.026.3184Arts & Cultural Studies Review, Issue 3 (21) , 2014, pp. 316 - 327
https://doi.org/10.4467/20843860PK.13.027.3185Arts & Cultural Studies Review, Issue 3 (21) , 2014, pp. 328 - 335
https://doi.org/10.4467/20843860PK.13.028.3186Arts & Cultural Studies Review, Issue 3 (21) , 2014, pp. 336 - 352
https://doi.org/10.4467/20843860PK.13.029.3187Arts & Cultural Studies Review, Issue 3 (21) , 2014, pp. 353 - 360
https://doi.org/10.4467/20843860PK.13.030.3188Słowa kluczowe: modernism, women, cinema, viewer, feminist aesthetic, home photography, modernism, professional and amateur photography, Klementyna Zybrzycka, history of cinema, oral history, women viewers, spectatorship, local cinemas, women, labour, emancipation, modernism, photography, technology, modernism, women, cinema, star system, popular culture, emancipation, film criticism