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Call Number: electronic book (aesthetic framework)
Publication Date: 2003-01-01
Until recently film has been impractical and expensive to teach, but television and video have provided unprecedented opportunities. Not only is it becoming possible for everyone to make use of a library of films on video, subjecting them to close evaluative study, but also, with the increasing availability of video cameras in schools and colleges, it is becoming possible for everyone to learn the language of this richly expressive form by using it. Through an engaged analysis of the beginnings of film, the nature of expression, the conventions of film and television, the development of narrative, and modern film theories, Robert Watson provides an aesthetic framework for film study which has implications and numerous suggestions for practical creative work.
The economics of the movie industry has been curiously neglected by scholars, especially given the material circumstances in which film has been produced, distributed and exhibited in capitalist economies and its central importance in the lives of the huge numbers attracted to it as a commodity. This book provides an economic framework for understanding developments in film history. Film is a peculiar commodity with a unique set of characteristics. The topic hence is interesting and covered with aplomb by the contributors to the volume. The book includes sections on: long-term trends in the film industry the transformation of film from a primitive commodity to a heavily branded product the operation of the studio system the end of the studio system in post-war America the role and payment of stars Hollywood's approach to risk during the 1990s. Experts from the UK and North America have come together in these pages and the result is a readable, insightful and enlightening book that will gain many fans amongst those with an interest in the economics of film, economic historians, film historians and aficionados of the movie industry generally.
The hero stands on stage in high-definition 3-D while doubled on a crude pixel screen in Billy Lynn's Long Halftime Walk. Alien ships leave Earth by dissolving at the conclusion of Arrival. An illusory death spiral in Vertigo transitions abruptly to a studio set, jolting the spectator. These are a few of the startling visual moments that Garrett Stewart examines in Cinemachines, a compelling, powerful, and witty book about the cultural and mechanical apparatuses that underlie modern cinema. Engaging in fresh ways with revelatory special effects in the history of cinematic storytelling--from Buster Keaton's breaching of the film screen in Sherlock Jr. to the pixel disintegration of a remotely projected hologram in Blade Runner 2049--Stewart's book puts unprecedented emphasis on technique in moving image narrative. Complicating and revising the discourse on historical screen processes, Cinemachines will be crucial reading for anyone interested in the evolution of the movies from a celluloid to a digital medium.
Call Number: Electronic Book (sociopoltical framework)
Publication Date: 2011-12-01
A series of movies that share images, characters, settings, plots, or themes, film cycles have been an industrial strategy since the beginning of cinema. While some have viewed them as "subgenres," mini-genres, or nascent film genres, Amanda Ann Klein argues that film cycles are an entity in their own right and a subject worthy of their own study. She posits that film cycles retain the marks of their historical, economic, and generic contexts and therefore can reveal much about the state of contemporary politics, prevalent social ideologies, aesthetic trends, popular desires, and anxieties. American Film Cycles presents a series of case studies of successful film cycles, including the melodramatic gangster films of the 1920s, the 1930s Dead End Kids cycle, the 1950s juvenile delinquent teenpic cycle, and the 1990s ghetto action cycle. Klein situates these films in several historical trajectories--the Progressive movement of the 1910s and 1920s, the beginnings of America's involvement in World War II, the "birth" of the teenager in the 1950s, and the drug and gangbanger crises of the early 1990s. She shows how filmmakers, audiences, film reviewers, advertisements, and cultural discourses interact with and have an impact on the film texts. Her findings illustrate the utility of the film cycle in broadening our understanding of established film genres, articulating and building upon beliefs about contemporary social problems, shaping and disseminating deviant subcultures, and exploiting and reflecting upon racial and political upheaval.