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The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, 'Cahiers du cinema' embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of 'Cahiers du cinema' produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. 00'The Red Years of Cahiers du Cinema (1968-1973)' gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote.

cinema --- film --- filmkritiek --- Frankrijk --- filmgeschiedenis --- filmtheorie --- marxisme --- mei '68 --- 20e eeuw (twintigste eeuw) --- E-books --- Motion pictures --- HISTORY / Social History. --- Periodicals. --- Cahiers du cinéma, film theory, apparatus theory, political modernism, French cinema. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Cahiers du cinema.

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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