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Le cinéma et la télévision connaissent une révolution sans précédent : en quelques années seulement, Netflix s'est imposé comme un géant de l'audiovisuel en recrutant à tour de bras des abonnés séduits par un catalogue gargantuesque à l'accès illimité. Un catalogue notamment alimenté par des productions « maison » au succès foudroyant, et peu à peu enrichi des créations de cinéastes vedettes. D'Amazon à Disney, en passant par Google, Apple et Facebook, d'autres lui emboîtent le pas, et tous se livrent d'ores et déjà une guerre sans merci à laquelle semblent assister, impuissants, les acteurs traditionnels du secteur. Quelles conséquences pour les artistes et les spectateurs ? Comment les chaînes de télévision et les grands studios peuvent-ils réagir ? Assiste-t-on à la fin programmée du cinéma, ou simplement à celle des salles obscures ? Autant de questions, et bien d'autres, auxquelles cette enquête apporte des réponses. Un ouvrage documenté qui raconte l'ascension éclair et décrypte les stratégies d'une marque devenue incontournable, et qui dévoile les coulisses d'une (r)évolution qui n'a rien de fictive dans l'univers fascinant du cinéma et de la télévision

Motion picture industry --- Motion pictures --- Internet --- Television --- Distribution --- Netflix (Firm) --- Netflix (Firme) --- Cinéma et Internet. --- Cinéma --- Chronologie des médias (audiovisuel). --- Télévision. --- Aspect économique. --- Netflix. --- Cinéma --- Cinéma et Internet. --- Chronologie des médias (audiovisuel) --- Télévision. --- Spectacles et divertissements sur Internet --- Télévision --- Industrie --- Innovations --- Aspect économique --- Cinéma - Industrie - Innovations --- Cinéma - Innovations --- Cinéma - Industrie - Aspect économique

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Television --- Cinema --- Motion picture industry --- Television broadcasting --- Motion pictures and television --- Industrie --- Finance --- Television - Films (Emissions) --- Cinema - Industrie --- Motion picture industry - Finance --- Acqui 2006 --- Audiovisuel --- Industrie cinématographique --- Politique de l'audiovisuel --- Cinéma et télévision --- Industrie de la télévision --- Aspect économique

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Motion picture industry --- Case studies. --- #SBIB:309H1312 --- #SBIB:309H1313 --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- Filmwezen: bedrijfseconomische aspecten, productie- en distributiestructuren --- Geschiedenis en/of organisatie van het filmwezen: algemeen en per land (met inbegrip van de rol van het filmwezen in de ontwikkelingsproblematiek) --- Case studies --- United States --- Cinéma. Industrie. Etats-Unis. --- Filmindustrie. Verenigde Staten.

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Mass media --- Motion picture industry --- Television --- Médias --- Cinéma --- Télévision --- Economic aspects --- Aspect économique --- Industrie --- Television broadcasting --- Motion pictures and television --- Finance --- Médias --- Cinéma --- Télévision --- Aspect économique --- Television - Films (Emissions) --- Cinéma - Industrie --- Motion picture industry - Finance --- Film --- Production audiovisuelle

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Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity-or both at once.From the sale of film in limited editions on the art market to the downloading of bootlegs, from the singularity of live cinema to video art broadcast on television, Erika Balsom investigates how the reproducibility of the moving image has been embraced, rejected, and negotiated by major figures including Stan Brakhage, Leo Castelli, and Gregory Markopoulos. Through a comparative analysis of selected distribution models and key case studies, she demonstrates how the question of image circulation is central to the history of film and video art. After Uniqueness shows that distribution channels are more than neutral pathways; they determine how we encounter, interpret, and write the history of the moving image as an art form.

Motion picture audiences --- Video art --- Motion pictures and the arts. --- Art and motion pictures. --- Motion picture industry --- History. --- Technological innovations. --- kunst --- film --- filmtheorie --- filmgeschiedenis --- video --- videkunst --- filmproductie --- filmdistributie --- experimentele film --- 791.41 --- Film industry (Motion pictures) --- Moving-picture industry --- Art and moving-pictures --- Motion pictures and art --- Arts and motion pictures --- Moving-pictures and the arts --- Electronic art --- Experimental television --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Motion pictures and the arts --- Art and motion pictures --- History --- Technological innovations --- Cultural industries --- Motion pictures --- Arts --- Art, Modern --- Performance art --- Television --- Experimental films --- Performing arts --- Audiences --- Art et cinéma. --- Art vidéo --- Cinéma Industrie --- Cinéma et arts. --- Cinéma --- Media Studies. --- Motion picture audiences. --- Video art. --- Histoire. --- Innovations. --- Publics. --- Time-based art