Choose an application

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

Motion picture audiences --- History. --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Performing arts --- Audiences

Choose an application

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

Is the experience of watching a film with others in a cinema crucially different from watching a film alone? Does laughing together amplify our enjoyment, and when watching a film in communal rapt attention, does this intensify the whole experience? Attending a film in a cinema implies being influenced by other people, an 'audience effect' that is particularly noticeable once affective responses like laughter, weeping, embarrassment, guilt, or anger play a role. In this innovative book, Julian Hanich explores the subjectively lived experience of watching films together, to discover a fuller understanding of cinema as an art form and a social institution that matters to millions of people worldwide. Combining recent scholarly interest in viewers' emotions and affects with insights from the blossoming debate about collective emotions in philosophy and social psychology, this study makes viewers more aware of their own experience in the cinema, and simultaneously opens up a new line of research for film studies.

Motion picture audiences. --- Motion picture audiences --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Performing arts --- Psychology. --- Social aspects. --- Audiences

Choose an application

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

L’attention des observateurs occidentaux est aujourd’hui rivée sur l’Asie, au point que beaucoup se demandent si le centre économique mondial n’est pas en train de se déplacer de l’Atlantique vers l’océan Indien. L’essor de l’Inde lui confère une plus grande crédibilité culturelle sur la scène internationale et permet d’aborder le cinéma populaire indien d’un œil neuf. Dans le contexte actuel d’une mondialisation accrue des industries culturelles, la résistance de Bollywood aux productions hollywoodiennes sur son marché intérieur et sa présence hors de ses frontières font exception. Identifier les forces acquises à travers les décennies, les bouleversements en cours et les défis majeurs à relever, donne les clés d’une compréhension en profondeur du cinéma indien. L’analyse transversale des différentes étapes du processus de création cinématographique - de la production, distribution et exploitation des films, en passant par les industries techniques et la réception par les publics, jusqu’aux formes et contenus d’une filmographie représentative des deux dernières décennies - dévoile tous les enjeux, mais aussi les limites, de cette confrontation du cinéma populaire indien au modèle d’Hollywood et des grands groupes multimédias. Soucieux des enjeux contemporains, cet ouvrage propose pour la première fois d’aborder Bollywood sous l’angle des industries culturelles. L’approche de terrain nous plonge au cœur d’un système unique, à la fois foisonnant et rentable, divertissant et innovant.

Motion pictures --- Motion picture industry --- Motion picture audiences --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Performing arts --- Audiences --- mondialisation --- cinéma --- Bollywood

Choose an application

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

In Recreational Terror, Isabel Cristina Pinedo analyzes how the contemporary horror film produces recreational terror as a pleasurable encounter with violence and danger for female spectators. She challenges the conventional wisdom that violent horror films can only degrade women and incite violence, and contends instead that the contemporary horror film speaks to the cultural need to express rage and terror in the midst of social upheaval.

Horror films --- Motion picture audiences. --- Motion pictures and women. --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Performing arts --- Women and motion pictures --- Women --- History and criticism. --- Audiences

Choose an application

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

Moving away from the recent prevalence of text-based analysis in the field of film studies, 'Audience' tackles one of the most important issues in cinema - how the audience engages with film. Ian Christie has assembled contributions from many of the major figures in media studies, including Gregory Waller, John Sedgwick, and Martin Baker, in order to provide a wide-ranging survey of viewers' relationships with the screen. 'Audiences' utilizes psychoanalysis and psychology, which dominated early academic examinations of film, to parse and explain modern film-viewing habits. This wide-ranging volume also takes advantage of new technology to gain access to important data on audiences, from traditional box office studies to information on digital access to movies in the home. With a particular interest in individual consumers and their motivations, this timely collection spans the spectrum of contemporary audience studies. As the film experience fragments across multiple formats, 'Audiences' studies a broad range of viewers, and is essential reading for scholars and lovers of cinema.

Motion picture audiences. --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Performing arts --- Audiences --- Audience reception. --- Film --- Motion pictures --- Psychology and the cinema. --- Psykologi och film. --- Publik. --- Psykologiska aspekter. --- Psychological aspects.