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Jocelyn Szczepaniak-Gillece - The Optical Vacuum, Häftad

Häftad, Engelska, 2018

The Optical Vacuum

Spectatorship and Modernized American Theater Architecture

Av Jocelyn Szczepaniak-Gillece

581 kr

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Beskrivning
Between the 1920s and the 1960s, American mainstream cinematic architecture underwent a seismic shift. From the massive movie palace to the intimate streamlined theater, movie theaters became neutralized spaces for calibrated, immersive watching. Leading this charge was New York architect Benjamin Schlanger, a fiery polemicist whose designs and essays reshaped how movies were watched. In its close examination of Schlanger's work and of changing patterns of spectatorship, this book reveals that the essence of film viewing lies not only in the text, but in the spaces where movies are shown. The Optical Vacuum demonstrates that our changing models of cinephilia are always determined by physical structure: from the decorations of the palace to the black box of the contemporary auditorium, variations in movie theater design are icons for how viewing has similarly transformed.
Produktinformation
  • Utgivningsdatum: 2018-09-27
  • Mått: 155 x 231 x 15 mm
  • Vikt: 363 g
  • Format: Häftad
  • Språk: Engelska
  • Antal sidor: 210
  • Förlag: OUP USA
  • ISBN: 9780190689360
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Mer om författaren

Jocelyn Szczepaniak-Gillece is Assistant Professor of English and Film Studies at the University of Wisconsin-Milwaukee. Her research focuses on spectatorship, exhibition, technology, and American film history, and she has published in various journals and books including Screen, Film History, Color and the Moving Image, World Picture, and 2ha.

Recensioner i media

Szczepaniak-Gillece's book on exhibition history tells an utterly captivating and theoretically complex story of the architectonics of theatrical space and its impact on spectatorial attention and absorption. The Optical Vacuum makes a stunning contribution to the vibrant field of Screen Studies, arguing that design can never be divorced from the viewing experiences imagined by cinephiles as well as the doyens of modernism.

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