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#SBIB:309H1313 --- #SBIB:309H1320 --- Geschiedenis en/of organisatie van het filmwezen: algemeen en per land (met inbegrip van de rol van het filmwezen in de ontwikkelingsproblematiek) --- De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land) --- Motion pictures --- United States --- History --- Motion picture industry --- Independent filmmakers --- Independent moviemakers --- Motion picture producers and directors

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Hollywood special effects offer spectacular creations or re-creations that make claims to our attention on the grounds of their 'incredible-seeming reality'. They can appear both 'incredible' and 'real', their appeal based on their ability to 'convince'-to appear real in terms such as detail and texture-and on their status as fabricated spectacle, to be admired as such. At a seemingly very different end of the audio-visual media spectrum, 'reality' television offers the spectacle of, supposedly, the 'real' itself, a 'reality' that ranges from the banality of the quotidian to intense interperso

Realism in motion pictures. --- Reality television programs --- Reality television programs. --- September 11 Terrorist Attacks, 2001 --- History and criticism. --- Press coverage. --- Realism in motion pictures --- Realism in moving-pictures --- Motion pictures --- Reality-based television programs --- Reality shows (Television programs) --- Nonfiction television programs --- Press coverage --- History and criticism --- Mass media --- Study and teaching.

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Art cinema occupies a space in the film landscape that is accorded a particular kind of value. From films that claim the status of harsh realism to others which embody aspects of the tradition of modernism or the poetic, art cinema encompasses a variety of work from across the globe.But how is art cinema positioned in the film marketplace, or by critics and in academic analysis? Exactly what kinds of cultural value are attributed to films of this type and how can this be explained? This book offers a unique analysis of how such processes work, including the broader cultural basis of the appeal of art cinema to particular audiences.Geoff King argues that there is no single definition of art cinema, but a number of distinct and recurrent tendencies are identified. At one end of the spectrum are films accorded the most 'heavyweight' status, offering the greatest challenges to viewers. Others mix aspects of art cinema with more accessible dimensions such as uses of popular genre frameworks and 'exploitation' elements involving explicit sex and violence. Including case studies of key figures such as Michael Haneke, Pedro Almodóvar and Jean-Pierre and Luc Dardenne, this is a crucial contribution to understanding both art cinema itself and the discourses through which its value is established. (Provided by publisher)

Motion pictures --- Motion picture audiences. --- Aesthetics. --- Cinéma --- Esthétique --- Film --- Esthétique. --- Motion picture audiences --- #SBIB: --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Performing arts --- Aesthetics --- Audiences --- #SBIB:309H1326 --- #SBIB:316.7C212 --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- Cultuursociologie: film --- Cinéma --- Esthétique.

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What defines 'quality' in contemporary Hollywood film? Although often seen as inhospitable to such work, the studios of the blockbuster-franchise era continue to produce features that make claims to higher status. Films such as The Social Network, The Assassination of Jesse James by the Coward Robert Ford and Mystic River are marked as distinctive from the mainstream norm. But how exactly, and how are such qualities mixed with more familiar Hollywood ingredients, as found in larger doses in other examples such as Blood Diamond and the blockbuster-scale Inception? Quality Hollywood is the first book to address these issues, featuring close analysis of case study films, critical responses and the wider notions of cultural value on which these draw. Geoff King argues that such films retain a presence as a minority strand of studio output. The reasons for this combine factors relating to economics, the power of certain filmmakers and Hollywood's investment in its own prestige.

Motion pictures --- History.

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Film --- United States of America