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Réflexion sur la relation du spectateur aux oeuvres cinématographiques. Le philosophe démontre qu'une reconstruction de la démarche artistique originelle et les intentions attribuées au réalisateur influent sur les critiques, positives ou négatives, portées sur un film. Etudes d'une douzaine de films : M le Maudit de F. Lang, Le voleur de bicyclette de V. de Sica, The tree of life de T. Malick... ©Electre 2015

Motion pictures --- Judgment (Aesthetics) --- Cinéma --- Jugement (Esthétique) --- Appreciation --- Appréciation --- Motion picture audiences --- Cognition --- Psychological aspects --- Psychology --- Cinéma --- Jugement (Esthétique) --- Appréciation --- Motion pictures - Psychological aspects --- Motion picture audiences - Psychology

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Video games, YouTube channels, Blu-ray discs, and other forms of "new" media have made theatrical cinema seem "old." A sense of "cinema lost" has accompanied the ascent of digital media, and many worry film's capacity to record the real is fundamentally changing. Yet the Surrealist movement never treated cinema as a realist medium and understood our perceptions of the real itself to be a mirage. Returning to their interpretation of film's aesthetics and function, this book reads the writing, films, and art of Luis Buñuel, Salvador Dalí, Man Ray, André Breton, André Bazin, Roland Barthes, Georges Bataille, Roger Caillois, and Joseph Cornell and recognizes their significance for the films of David Cronenberg, Nakata Hideo, and Atom Egoyan; the American remake of the Japanese Ring (1998); and a YouTube channel devoted to Rock Hudson. Offering a positive alternative to cinema's perceived crisis of realism, this innovative study enriches the meaning of cinematic spectatorship in the twenty-first century.

Motion picture audiences. --- Surrealism in motion pictures. --- Digital media --- Cinéma --- Surréalisme dans le cinéma --- Médias numériques --- Publics --- Cinéma --- Surréalisme dans le cinéma --- Médias numériques --- Film --- Motion picture audiences -- Psychology. --- Motion picture audiences --- Surrealism in motion pictures --- Music, Dance, Drama & Film --- Motion pictures --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Performing arts --- Audiences

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Motion pictures --- Time in motion pictures --- Reader-response criticism --- Motion picture audiences --- Cinéma --- Temps au cinéma --- Esthétique de la réception --- Sociological aspects --- Aspect sociologique --- Publics --- Psychology --- Social aspects --- Cinéma --- Temps au cinéma --- Esthétique de la réception --- Sociological aspects. --- Motion picture audiences - Psychology --- Motion pictures - Social aspects

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Has political propaganda ever been effective? To what extent do African-American families interpret their favourite TV show differently from their white neighbours? Are romance novels and teenage magazines reactionary fantasies or do they provide women with an important space of their own? The Audience Studies Reader brings together key writings exploring questions of reception and interpretation, reprinting forgotten pieces and combining key essays with new research. Beginning with a general introduction to the Reader, each extract is placed in its historical context with specially written section prefaces and suggestions for further reading. With essays from leading scholars such as Theodor Adorno, Michel de Certeau, John Fiske, Richard Hoggart, Angela McRobbie, Laura Mulvey and Janice Radway, sections address: the paradigm shift - from 'effects' to 'uses and gratifications'; moral panic and censorship; the active audience and reading as resistance; shifts in screen theory - the spectator and the audience; the fan and the audience; female audiences; nation and ethnicity. The conclusion discusses the effects of Internet 'overflow' and the increased level of interactivity. The Audience Studies Reader provides a guide to thinking about the audience, and suggests new ways of looking at the relationship between media texts and those who receive, consume and interpret them. Theodor Adorno; Ien Ang; Camille Bacon-Smith; Jacqueline Bobo; Martin Barker; Michel de Certeau; Dawn Currie; Barbara Ehrenreich; John Fiske

Filmgoers --- Moviegoers --- Moving-picture audiences --- Motion picture audiences --- Reading --- Television viewers --- #SBIB:031.AANKOOP --- #SBIB:309H400 --- Language arts --- Elocution --- Audiences, Television --- Television audiences --- Television fans --- Television watchers --- Viewers, Television --- Mass media --- Film audiences --- Performing arts --- Psychology --- Media en publieksgroepen: algemene werken --- Study and teaching --- Audiences --- Reading. --- Motion picture audiences. --- Television viewers. --- Psychology. --- Motion picture audiences - Psychology --- Television viewers - Psychology

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Film --- Sociology of culture --- Motion picture audiences --- Motion pictures --- Cinéma --- Psychological aspects --- Sociological aspects --- Spectateurs --- Aspect psychologique --- Aspect sociologique --- Aspect social --- Publics --- #SBIB:309H525 --- #SBIB:309H526 --- #SBIB:309H401 --- film --- filmtheorie --- cultuursociologie --- beeldcultuur --- sociologie --- film en samenleving --- voyeurisme --- 791.41 --- 130.2 --- Sociologie van de audiovisuele boodschap --- Psychologie van de audiovisuele boodschap --- Publieksgroepen in de verschillende media (pers, omroep, film, boekenindustrie, ...): gebruikersgroepen, gebruikersonderzoek --- Gaze in motion pictures. --- Gaze --- Psychological aspects. --- Psychology. --- Social aspects. --- Cinéma --- Gaze in motion pictures --- Body language --- Social perception --- Psychology --- Social aspects --- Aspect psychologique. --- Aspect social. --- CDL --- Motion pictures - Social aspects --- Motion picture audiences - Psychology --- Gaze - Psychological aspects