Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Dónde se encuentra el análisis cinematográfico hoy? Que está haciendo, en la oscuridad, la teoría del cine? Este campo, tal y como ha sido definido profesionalmente (por lo menos en el mundo academico anglo-americano), está dividido actualmente entre los historiadores interesados en el contexto social que examinan las grandes formaciones de la modernidad, y los expertos en el estilo que reclaman la vuelta de cosas pasadas de moda como la visión autoral, el tono, y la puesta en escena. Pero hay tambien otras corrientes, vitales e inventivas, de las que apenas estamos oyendo nada en ninguno de los canales oficiales. Último día cada día, que para esta edición ha sido extendido con el ensayo "Avatares del encuentro", hace brillar una luz sobre una de estas nuevas y excitantes vías.

Motion pictures --- Film criticism. --- film studies --- Eric Auerbach --- Siegfried Kracauer --- Nicole Brenez --- Douglas Sirk --- Philosophy. --- film studies --- Eric Auerbach --- Siegfried Kracauer --- Nicole Brenez --- Douglas Sirk

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Dónde se encuentra el análisis cinematográfico hoy? Que está haciendo, en la oscuridad, la teoría del cine? Este campo, tal y como ha sido definido profesionalmente (por lo menos en el mundo academico anglo-americano), está dividido actualmente entre los historiadores interesados en el contexto social que examinan las grandes formaciones de la modernidad, y los expertos en el estilo que reclaman la vuelta de cosas pasadas de moda como la visión autoral, el tono, y la puesta en escena. Pero hay tambien otras corrientes, vitales e inventivas, de las que apenas estamos oyendo nada en ninguno de los canales oficiales. Último día cada día, que para esta edición ha sido extendido con el ensayo "Avatares del encuentro", hace brillar una luz sobre una de estas nuevas y excitantes vías.

Motion pictures --- Film criticism. --- Philosophy. --- film studies --- Eric Auerbach --- Siegfried Kracauer --- Nicole Brenez --- Douglas Sirk

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Over the last few decades, the field of film studies has seen a rise in approaches oriented toward genre: studies that look at thematic, narrative, and stylistic similarities between films, contextualizing them within culture and society. Although there now exists a large body of genre-based scholarship on international film, German film studies has largely ignored the importance of genre. Even as the last several years have witnessed increasing scholarly interest in popular cinema from Germany, very few works have substantively engaged with genre theory. Generic Histories offers a fresh approach, tracing a series of key genres -- including horror, science fiction, the thriller, Heimat films, and war films -- over the course of German cinema history. It also addresses detective films, comedies, policiers, and romances that deliberately localize global genres within Germany - a form of transnationalism frequently neglected. This focus on genre and history encourages rethinking of the traditional opposition (and hierarchy) between art and popular cinema that has informed German film studies. In these ways, the volume foregrounds genre theory's potential for rethinking film history as well as cultural history more broadly. Contributors: Marco Abel, Nora M. Alter, Antje Ascheid, Hester Baer, Steve Choe, Paul Cooke, Jaimey Fisher, Gerd Gemünden, Sascha Gerhards, Lutz Koepnick, Eric Rentschler, Kris Vander Lugt. Jaimey Fisher is Associate Professor of German and Cinema and Technocultural Studies, and Director of Cinema and Technocultural Studies, at the University of California, Davis.

Motion pictures --- Film genres --- Cinéma --- Genres cinématographiques --- History --- Histoire --- Cinéma --- Genres cinématographiques --- History and criticism. --- Genre films --- Genres, Film --- Motion picture genres --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Plots, themes, etc. --- History and criticism --- Culture. --- Film Studies. --- Genre Theory. --- Genre. --- German Cinema. --- Heimat Films. --- History. --- Horror. --- Popular Cinema. --- Thriller. --- War Films.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Cinepoetry analyzes how French poets have remapped poetry through the lens of cinema for more than a century. In showing how poets have drawn on mass culture, technology, and material images to incorporate the idea, technique, and experience of cinema into writing, Wall-Romana documents the long history of cross-media concepts and practices often thought to emerge with the digital. In showing the cinematic consciousness of Mallarmé and Breton and calling for a reappraisal of the influential poetry theory of the early filmmaker Jean Epstein, Cinepoetry reevaluates the bases of literary modernism. The book also explores the crucial link between trauma and trans-medium experiments in the wake of two world wars and highlights the marginal identity of cinepoets who were often Jewish, gay, foreign-born, or on the margins. What results is a broad rethinking of the relationship between film and literature. The episteme of cinema, the book demonstates, reached the very core of its supposedly highbrow rival, while at the same time modern poetry cultivated the technocultural savvy that is found today in slams, e-poetry, and poetic-digital hybrids.

French poetry --- Motion pictures and literature --- Motion pictures in literature. --- Literature and motion pictures --- Moving-pictures and literature --- Literature --- Moving-pictures in literature --- History and criticism. --- André Breton. --- Charles Chaplin. --- Jean Epstein. --- Stéphane Mallarmé. --- cross media studies. --- early cinema. --- film studies. --- literary criticism. --- modern French literature. --- poetry.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Since the mid-1980s, US audiences have watched the majority of movies they see on a video platform, be it VHS, DVD, Blu-ray, Video On Demand, or streaming media. Annual video revenues have exceeded box office returns for over twenty-five years. In short, video has become the structuring discourse of US movie culture. Killer Tapes and Shattered Screens examines how prerecorded video reframes the premises and promises of motion picture spectatorship. But instead of offering a history of video technology or reception, Caetlin Benson-Allott analyzes how the movies themselves understand and represent the symbiosis of platform and spectator. Through case studies and close readings that blend industry history with apparatus theory, psychoanalysis with platform studies, and production history with postmodern philosophy, Killer Tapes and Shattered Screens unearths a genealogy of post-cinematic spectatorship in horror movies, thrillers, and other exploitation genres. From Night of the Living Dead (1968) through Paranormal Activity (2009), these movies pursue their spectator from one platform to another, adapting to suit new exhibition norms and cultural concerns in the evolution of the video subject.

Sociology of culture --- Film --- United States --- Technology in motion pictures. --- Cinematography --- Horror films --- Motion picture audiences. --- Video recordings --- Digital video --- Video recordings industry. --- Technological innovations. --- History and criticism. --- Production and direction --- Data processing. --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Performing arts --- Digital motion video --- PC video --- Video, Digital --- Computer graphics --- Digital media --- Image processing --- Multimedia systems --- Photography --- Chronophotography --- Videorecordings --- Videos --- Audio-visual materials --- Video industry --- Video tape production industry --- Motion picture industry --- Motion pictures --- Audiences --- Digital techniques --- Animated pictures --- apparatus theory. --- blu ray. --- box office. --- case studies. --- digital video. --- dvd. --- file sharing. --- film and culture. --- film audiences. --- film critics. --- film industry. --- film scholars. --- film studies. --- home viewing. --- horror movies. --- media studies. --- motion pictures. --- movie culture. --- movies. --- nonfiction. --- piracy. --- post cinematic. --- postmodern philosophy. --- prerecorded video. --- psychoanalysis. --- spectatorship. --- streaming services. --- thrillers. --- united states. --- vhs. --- video on demand. --- video platforms. --- video revenues. --- United States of America