Showing 16-18 of 18 items.
Silent Film
Edited by Richard Able
Rutgers University Press
Silent Film offers some of the best recent essays on silent cinema, essays that cross disciplinary boundaries and break new ground in a variety of ways. Some focus on the "materiality" of early cinema: the color processes used in printing nitrate film stocks, the choreographic styles of film acting, and the wide range of sound accompaniment. Others focus on questions of periodicity and nationality: on the shift from a "cinema of attractions" to a "classical narrative cinema," on the relationship between changes in production and those in exhibition, and on the historical specificity of national cinemas.
Movies & Mass Culture
By John Belton
Rutgers University Press
Movies and Mass Culture looks at the ways in which American identity shapes and is shaped by motion pictures. Movies serve not only as texts that document who we think we are or were, but they also reflect changes in our self-image, tracing the transformation from one kind of America to another. They assist audiences in negotiating major changes in identity, carrying them across difficult periods of cultural transition so that a more or less coherent national identity again emerges. Films thus help their viewers to span the gaps and fissures that cultural changes cause, allowing passage over any disjointedness that in some way might disrupt our sense of what we believe in as a nation. This volume examines this process, illustrating the ways in which films aided America's transition from an agrarian to an industrial economy; from a nation of producers to one of consumers; and from a community of individuals to a mass society.
Viewing Positions
Ways of Seeing Film
Edited by Linda Williams
Rutgers University Press
The essays in this volume represent some of the best new thinking about the crucial relations between visual representation in film and human subjectivity. No amount of empirical research into the sociology of actual audiences will displace the desire to speculate about the effects of visual culture, and especially moving images, on viewing subjects. These notions of spectatorship, however hypothetical, become extremely compelling metaphors for the workings of vision within the institution of cinema. Viewing Positions examines the tradition of a centered, unitary, distanced, and objectifying spectator's gaze; investigates the period when film spectatorship as an idea began; and analyses gender- and sexuality-based challenges to the homogeneous classical theory of spectatorship. It makes available critical understandings of spectatorship that have, until now, largely eluded cinema studies.
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