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Fri frakt inom Sverige för privatpersoner.The Routledge Companion to New Cinema History presents the most recent approaches and methods in the study of the social experience of cinema, from its origins in vaudeville and traveling exhibitions to the multiplexes of today. Exploring its history from the perspective of the cinemagoer, the study of new cinema history examines the circulation and consumption of cinema, the political and legal structures that underpinned its activities, the place that it occupied in the lives of its audiences and the traces that it left in their memories. Using a broad range of methods from the statistical analyses of box office economics to ethnography, oral history, and memory studies, this approach has brought about an undisputable change in how we study cinema, and the questions we ask about its history. This companion examines the place, space, and practices of film exhibition and programming; the questions of gender and ethnicity within the cinematic experience; and the ways in which audiences gave meaning to cinemagoing practices, specific films, stars, and venues, and its operation as a site of social and cultural exchange from Detroit and Laredo to Bandung and Chennai. Contributors demonstrate how the digitization of source materials and the use of digital research tools have enabled them to map previously unexplored aspects of cinema's business and social history and undertake comparative analysis of the diversity of the social experience of cinema across regional, national, and continental boundaries. With contributions from leading scholars in the field, The Routledge Companion to New Cinema History enlarges and refines our understanding of cinema's place in the social history of the twentieth century.
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Daniel Biltereyst is Professor in Film and Media Studies at Ghent University, Belgium, where he is also director of the Centre for Cinema and Media Studies (CIMS). His work deals with issues of media historiography, media controversy, and audience's media engagements. Richard Maltby is Matthew Flinders Distinguished Professor of Screen Studies at Flinders University, South Australia. A Fellow of the Australian Academy of the Humanities, he has published extensively on the cultural history of Hollywood, and has edited seven books on the history of cinema audiences, exhibition, and reception. Philippe Meers is Professor in Film and Media Studies at the University of Antwerp, Belgium, where he chairs the Center for Mexican Studies and is deputy-director of the Visual and Digital Cultures Research Center (ViDi). He has published widely on historical and contemporary film culture and audiences.
Introduction: The scope of new cinema history, Daniel Biltereyst, Richard Maltby and Philippe Meers PART 1. Reflections and comments Introduction: the scope of new cinema history, Daniel Biltereyst, Richard Maltby, and Philippe Meers PART I. Reflections and comments Introduction 1. Connections, intermediality, and the anti-archive: a conversation with Robert C. Allen, Richard Maltby and Philippe Meers 2. Film history, cultural memory, and the experience of cinema: a conversation with Annette Kuhn, Daniel Biltereyst 3. How I became a new cinema historian, Melvyn Stokes 4. The subject of history and the clutter of phenomena, John Caughie 5. The new nontheatrical cinema history?, Gregory A. Waller PART II. Challenges and opportunities Introduction 6. Reading newspapers and writing American silent cinema history, Richard Abel 7. Arclights and zoom lenses: searching for influential exhibitors in film history's big data, Eric Hoyt 8. Comparing historical cinema cultures: reflections on new cinema history and comparison with a cross-national case study on Antwerp and Rotterdam, Daniel Biltereyst, Thunnis van Oort and Philippe Meers 9. The archaeology of itinerant film exhibition: unpacking the Brinton Entertainment Company Collection, Kathryn Fuller-Seeley 10. Cinema history as social history: retrospect and prospect, Judith Thissen PART III. Distribution and trade Introduction 11. Early film stars in trade journals and newspapers: data-based research on global distribution and local exhibition, Martin Loiperdinger 12. The high stakes conflict between the Motion Picture Export Association and the Netherlands Cinema Association 1945-1946, Clara Pafort-Overduin and Douglas Gomery 13. "Perhaps everyone has forgotten just how pictures are shown to the public": continuous performance and double billing in the 1930s, Richard Maltby 14. "When in doubt, Showcase": The rise and fall of United Artists' revolutionary New York distribution pattern, Zoe Wallin 15. When distributors' trash becomes exhibitors' treasure: rethinking film success and failure, Dean Brandum, Bronwyn Coate, and Deb Verhoeven PART IV. Exhibition, place and space Introduction 16. Roll the credits: gender, geography, and the people's history of cinema, Jeffrey Klenotic 17. Three moments of cinema exhibition, Mike Walsh, Richard Maltby, and Dylan Walker 18. Currents of empire: transport, electricity, and early film exhibition in colonial Indonesia, Dafna Ruppin 19. Remembering the first movie theatres and early cinema exhibition in Quay, Smyrna, Turkey, Dilek Kaya 20. Exhibiting films in a predominantly Mexican American market: the case of Laredo, Texas, a small USA-Mexico border town, 1896-1960, Jose Carlos Lozano PART V. Programming, popularity, and film Introduction 21. Popular filmgoing in mid-1950s Milan: opening up the 'black box', John Sedgwick and Marina Nicoli 22. Distribution and exhibition in Warner Bros. Philadelphia Theaters, 1935-1936, Catherine Jurca 23. To be continued...: seriality, cyclicality and the new cinema history, Tim Snelson 24. Kino-barons and noble minds: specifics of film exhibition beyond commercial entertainment, Lucie Cesalkova 25. When the history of moviegoing is a history of movie watching, then what about the films?, Frank Kessler and Sabine Lenk 26. The evergreens and mayflies of film history: the age distribution of films in exhibition, Karel Dibbets PART VI. Audiences, reception, and cinemagoing experiences Introduction 27. Analysing memories through video-interviews: a case study of post-war Italian cinemagoing, Daniela Treveri Gennari, Silvia Dibeltulo, Danielle Hipkins, and Catherine O'Rawe 28. Social sense and embodied sensibility: towards a historical phenomenology of filmgoing, Stephen Putnam Hughes 29. "It Pays to Plan 'em!": the newspaper movie directory and the paternal logic of mass onsumptio