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Film Studies: A Global Introduction reroutes film studies from its Euro-American focus and canon in order to introduce students to a medium that has always been global but has become differently and insistently so in the digital age.
Film Studies: A Global Introduction reroutes film studies from its Euro-American focus and canon in order to introduce students to a medium that has always been global but has become differently and insistently so in the digital age.
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Glyn Davis is Chancellor's Fellow and Reader in the School of Design at the University of Edinburgh, UK. He is the co-editor, with Gary Needham, of Warhol in Ten Takes (2013), and the author of monographs on Superstar: The Karen Carpenter Story (2009) and Far from Heaven (2011).
Kay Dickinson is an Associate Professor of Film Studies at Concordia University, Canada. She is the editor of Movie Music: A Film Reader (2002) and the author of Off Key: When Film and Music Won't Work Together (2008).
Lisa Patti is an Assistant Professor in the Media and Society Program at Hobart and William Smith Colleges.
Amy Villarejo is Professor in the Department of Performing and Media Arts at Cornell University. Her books include Ethereal Queer (2014), Film Studies: The Basics, second edition (2013), and Lesbian Rule: Cultural Criticism and the Value of Desire (2003).
Inhaltsangabe
Part 1: Why Are Movies Made? Introduction 1. Cinema As Entertainment 2. Cinema as Self-Expression 3. Cinema as Informative 4. Film and Politics 5. Film as a Commodity Part 2: How Do Movies Get Made? Introduction 6. Starting Points 7. Film Production Practices 8. Film Labour. Interlude on Film Form Part 3: Where Do Movies Go? Introduction 9. Marketing 10. Distribution 11. Exhibition 12. Evaluative Contexts 13. The Longevity of Films Part 4: How Are Movies Experienced? 14. Pleasure and Desire 15. Identification and Identity 16. Transformation Writing about Cinema
Part 1: Why Are Movies Made? Introduction 1. Cinema As Entertainment 2. Cinema as Self-Expression 3. Cinema as Informative 4. Film and Politics 5. Film as a Commodity Part 2: How Do Movies Get Made? Introduction 6. Starting Points 7. Film Production Practices 8. Film Labour. Interlude on Film Form Part 3: Where Do Movies Go? Introduction 9. Marketing 10. Distribution 11. Exhibition 12. Evaluative Contexts 13. The Longevity of Films Part 4: How Are Movies Experienced? 14. Pleasure and Desire 15. Identification and Identity 16. Transformation Writing about Cinema
Part 1: Why Are Movies Made? Introduction 1. Cinema As Entertainment 2. Cinema as Self-Expression 3. Cinema as Informative 4. Film and Politics 5. Film as a Commodity Part 2: How Do Movies Get Made? Introduction 6. Starting Points 7. Film Production Practices 8. Film Labour. Interlude on Film Form Part 3: Where Do Movies Go? Introduction 9. Marketing 10. Distribution 11. Exhibition 12. Evaluative Contexts 13. The Longevity of Films Part 4: How Are Movies Experienced? 14. Pleasure and Desire 15. Identification and Identity 16. Transformation Writing about Cinema
Part 1: Why Are Movies Made? Introduction 1. Cinema As Entertainment 2. Cinema as Self-Expression 3. Cinema as Informative 4. Film and Politics 5. Film as a Commodity Part 2: How Do Movies Get Made? Introduction 6. Starting Points 7. Film Production Practices 8. Film Labour. Interlude on Film Form Part 3: Where Do Movies Go? Introduction 9. Marketing 10. Distribution 11. Exhibition 12. Evaluative Contexts 13. The Longevity of Films Part 4: How Are Movies Experienced? 14. Pleasure and Desire 15. Identification and Identity 16. Transformation Writing about Cinema
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