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Books on the topic 'Film audience'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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1

Domaille, Kate. Film and audience. London: Film Education, 2000.

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2

The last picture show?: Britain's changing film audience. London: BFI Pub., 1987.

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3

Whitehouse-Hart, Jo. Psychosocial explorations of film and television viewing: Ordinary audience. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2014.

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4

Lucy, Faire, and Stubbings Sarah, eds. The place of the audience: Cultural geographies of film consumption. London: British Film Institute, 2003.

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5

Taylor, Greg. Artists in the audience: Cults, camp, and American film criticism. Princeton, N.J: Princeton University Press, 1999.

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6

Smart cinema, DVD add-ons and new audience pleasures. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2012.

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7

Lari, Erika. Cinematic intent: audience engagement in experimental film: M.A. Communication Design Thesis 2001. London: Central Saint Martins College of Art & Design, 2001.

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8

Mon, Ya-Feng. Film Production and Consumption in Contemporary Taiwan. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089648884.

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This book uses the potent case study of contemporary Taiwanese queer romance films to address the question of how capitalism in Taiwan has privileged the film industry at the expense of the audience's freedom to choose and respond to culture on its own terms. Interweaving in-depth interviews with filmmakers, producers, marketers, and spectators, Ya-Fong Mon takes a biopolitical approach to the question, showing how the industry uses investments in techno-science, ancillary marketing, and media convergence to seduce and control the sensory experience of the audience-yet that control only extends so far: volatility remains a key component of the film-going experience.
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9

Playing to the world's biggest audience: The globalization of Chinese film and TV. Berkeley: University of California Press, 2007.

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10

Kurtz, Lisa Adrienne. Archetypal content of personal fears and the supernatural/horror film: Audience imaging and media effect. Ann Arbor, MI: UMI, 1988.

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11

Heritage film audiences: Period films and contemporary audiences in the UK. Edinburgh: Edinburgh University Press, 2011.

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12

Wollen, Tana. Film and audiences. London: Film Education, 1988.

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13

Zheng, Tan, ed. Jing xiang zhi jian: Han Zhong dian ying xu shi he shou zhong bi jiao yan jiu = Narration and audience research between Korean & Chinese film. Beijing: Zhong yang bian yi chu ban she, 2008.

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14

Bilmes, Nicolas. War movies how does a propaganda film attempt to manipulate its audience?: A study of Leni Riefenstahl's triumph Des Willens and Humphrey Jennings's Listen to Britain. London: LCP, 1999.

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15

Stevens, E. Charlotte. Fanvids. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985865.

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Fanvids, or vids, are short videos created in media fandom. Made from television and film sources, they are neither television episodes nor films; they resemble music videos but are non-commercial fanworks that construct creative and critical analyses of existing media. The creators of fanvids-called vidders-are predominantly women, whose vids prompt questions about media historiography and pleasures taken from screen media. Vids remake narratives for an attentive fan audience, who watch with a deep knowledge of the source text(s), or an interest in the vid form itself. Fanvids: Television, Women, and Home Media Re-Use draws on four decades of vids, produced on videotape and digitally, to argue that the vid form's creation and reception reveals a mode of engaged spectatorship that counters academic histories of media audiences and technologies. Vids offer an answer to the prevalent questions: What happens to television after it's been aired? How and by whom is it used and shared? Is it still television?
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16

Roma, Istituto svizzero di, ed. Film, Kino, Zuschauer: Filmrezeption = Film, cinema, spectator : film reception. Marburg: Schüren Verlag, 2010.

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17

Film and cinema spectatorship: Melodrama and mimesis. Cambridge, UK: Polity, 2005.

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18

1945-, Spence Louise, ed. Writing himself into history: Oscar Micheaux, his silent films, and his audiences. New Brunswick, N.J: Rutgers University Press, 2000.

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19

Bowser, Pearl. Writing himself into history: Oscar Micheaux, his silent films, and his audiences. New Brunswick, N.J: Rutgers University Press, 2000.

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20

The Film Audience. The Scarecrow Press, Inc., 1995.

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21

Morrison, David, Michael Tracey, and David Docherty. The Last Picture Show?: Britain's Changing Film Audience. British Film Inst, 1988.

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22

Stevens, Kirsten. Australian Film Festivals: Audience, Place, and Exhibition Culture. Palgrave Macmillan, 2017.

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23

(Editor), Deborah Cartmell, Heidi Kaye (Editor), Imelda Whelehan (Editor), and I. Q. Hunter (Editor), eds. Trash Aesthetics: Popular Culture and Its Audience (Film/Fiction). Pluto Press (UK), 1997.

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24

Whitehouse-Hart, Jo. Psychosocial Explorations of Film and Television Viewing: Ordinary Audience. Palgrave Macmillan, 2014.

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25

Taylor, Greg. Artists in the Audience: Cults, Camp, and American Film Criticism. Princeton University Press, 2001.

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26

Hanrahan, Cassandra Fortin. Cuban cinema, politics and film audience reception in North America. $c2002, 2002.

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27

Beeler, Stan, and Karin Beeler. Children's Film in the Digital Age: Essays on Audience, Adaptation and Consumer Culture. McFarland, 2014.

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28

Trash Aesthetics: Popular Culture and Its Audience (Film/Fiction, V. 2). LPC Group, 1997.

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29

Regarding Frank Capra: Audience, Celebrity, and American Film Studies, 1930-1960. Duke University Press, 2004.

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30

Regarding Frank Capra: Audience, Celebrity, and American Film Studies, 1930-1960. Duke University Press, 2004.

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31

Smoodin, Eric. Regarding Frank Capra: Audience, Celebrity, and American Film Studies, 1930-1960. Duke University Press, 2005.

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32

The American Marshall Plan Film Campaign and the Europeans: A Captivated Audience? Bloomsbury Academic, 2018.

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33

Curtin, Michael. Playing to the World's Biggest Audience: The Globalization of Chinese Film and TV. University of California Press, 2007.

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34

Curtin, Michael. Playing to the World's Biggest Audience: The Globalization of Chinese Film and TV. University of California Press, 2007.

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35

Curtin, Michael. Playing to the World's Biggest Audience: The Globalization of Chinese Film and TV. University of California Press, 2007.

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36

Rossoukh, Ramyar D., and Steven C. Caton, eds. Anthropology, Film Industries, Modularity. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478022190.

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From Bangladesh and Hong Kong to Iran and South Africa, film industries around the world are rapidly growing at a time when new digital technologies are fundamentally changing how films are made and viewed. Larger film industries like Bollywood and Nollywood aim to attain Hollywood's audience and profitability, while smaller, less commercial, and often state-funded enterprises support various cultural and political projects. The contributors to Anthropology, Film Industries, Modularity take an ethnographic and comparative approach to capturing the diversity and growth of global film industries. They outline how modularity—the specialized filmmaking tasks that collectively produce a film—operates as a key feature in every film industry, independent of local context. Whether they are examining the process of dubbing Hollywood films into Hindi, virtual reality filmmaking in South Africa, or on-location shooting in Yemen, the contributors' anthropological methodology brings into relief the universal practices and the local contingencies and deeper cultural realities of film production. Contributors. Steven C. Caton, Jessica Dickson, Kevin Dwyer, Tejaswini Ganti, Lotte Hoek, Amrita Ibrahim, Sylvia J. Martin, Ramyar D. Rossoukh
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37

Curtin, Michael. Playing to the World S Biggest Audience: The Globalization of Chinese Film and TV. University of California Press, 2007.

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38

Weisenfeld, Judith. Race, Religion, and Documentary Film. Edited by Paul Harvey and Kathryn Gin Lum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190221171.013.2.

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This chapter uses Ingagi and The Silent Enemy, both independent films released in 1930, to examine the intersections of race and religion in the context of American documentary film conventions. The filmmakers claimed documentary status for their films, despite the fact that both were largely scripted and contained staged representations. Many audience members and critics nevertheless took their representations of the religious practices of Africans and Native Americans to be truthful and invested in the films’ authenticity because their visual codes, narratives, and advertising confirmed accepted stereotypes about race, religion, and capacity for civilization. Examining these two films in the context of the broader history of documentary representations of race and religion—from travelogues, adventure, ethnographic, and expeditionary films through more recent productions—this chapter explores how the genre has helped to shape and communicate ideas about race and religion.
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39

Franco, Susanne. Rudolf Laban’s Dance Film Projects. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0005.

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Rudolf Laban was one of the leaders of Ausdruckstanz, and he has been studied as a thoughtful writer and theoretician, a talented choreographer, an inspired teacher, and a tireless organizer of schools, associations, and festivals. Less known are his mostly unrealized film projects, conceptualized for different purposes on different occasions. This chapter considers how film offered Laban yet another arena within which to promote his distinctive vision of dance. Laban was interested in using cinema as a tool to disseminate his ideas and to expand the potential audience for modern dance, ensuring its position as a respectable social practice, as a form of high art, and as a professional field. He understood the great economic potential that cinema, as a popular medium, could give to dance in supporting his enterprises. The chapter also wonders whether Laban's apparent turn away from film in the mid-1930s reflected his engagement with the National Socialist cultural bureaucracy and the opportunities it offered for his vision of mass dance.
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40

Tulloch, John, and Belinda Middleweek. “A man didn’t make this film alone”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0006.

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Part 2 of chapter 4 contributes to the dialogue of part 1 by combining an industry-based textual analysis with the findings of the authors’ social audience study of Blue Is the Warmest Colour. This part puts into interdisciplinary dialogue the mutually constructed meanings of “risk,” “desire,” and “intimacy” presented by this real sex film, as read by the macro discourses of film reviewing, risk sociology, and feminist-psychoanalytical film studies outlined in the first three chapters. In doing this it also introduces analytical themes that are explored extensively in later chapters of the book: real sex versus simulated sex, multiple and performed authorship, and the pleasures of the gazes of scopophilia and ego-identity in one disciplinary paradigm, and of voluntary risk-taking and addiction in another.
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41

DeFrantz, Thomas F. Hip-Hop in Hollywood. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.001.

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In the early 1980s, Hollywood began to exploit hip-hop dance—especially breaking—to produce a limited series of movie musicals. These “breaksploitation” films set a standard of participation for young artists, and in particular, young artists of color, to enter the movie industry as laborers, and to enter the global imagination of film audiences as representative agents of change. This chapter explores the traditions of Hollywood musicals and dance artists of color just before the hip-hop film production era; the innovations of these early 1980s films in terms of their casting, creative approaches, and presentation of contemporary social dance; and the communities that these mediated projects both catered to and generated. Together, these films inspired a global audience for breakdancing, and are inextricably linked to the sweep and scale of young people’s interest in these corporeal practices.
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42

Model, Katie. Gender Hyperbole and the Uncanny in the Horror Film. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0011.

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This chapter examines Stanley Kubrick's film, The Shining (1980), based on Stephen King's eponymous novel (1977). Applying the Freudian concept of the “uncanny” to Jack Nicholson's performance the film, it suggests how genre and star performance generate horror in the aporias of cultural gender. Rather than the ambivalence of the fantastic premised on difference, the chapter emphasizes the uncanniness of hyperbole grounded in repetition. Thus, The Shining draws out from Nicholson's self-parodying performance a hyperbolic rendition of masculinity: a doubling that makes the gender norm itself a source of a horror, doubled again through haptic star-audience contact.
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43

Heritage Film Audiences: Period Films and Contemporary Audiences in the U. K. Edinburgh University Press, 2012.

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44

Barker, Thomas. Indonesian Cinema after the New Order. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528073.001.0001.

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In the two decades since the fall of the New Order regime in 1998, Indonesia cinema has become one of the most productive and exciting film industries in Asia. From a position in the 1990s when local films were on the cultural periphery, they are now part of the mainstream with two new films in the cinemas every week. This book traces how the film industry reformed and returned to popularity and conceptualises it as a process of going mainstream. It overturns long held paradigms of national cinema and statism to see the film industry as pop culture in which market mechanisms are determinant. In going mainstream, new independent-minded filmmakers representing new creativity had to accommodate with capital and producers from old production companies. Appeal to audiences has resulting in the reimagining of the horror film and its traumas and the representation of new kinds of piety in a new subgenre Islamic themed films. Yet legacy structures and players remain, as the film industry has struggled to overcome regulation and censorship and the oligopoly of senior producers. In catering to a growing audience, the exhibition sector has become the focus of new investment as it becomes a site for competing local operators and global capital. The book argues for a reconceptualization of Indonesian cinema as pop culture with consequences to how Asian cinema is studied.
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45

Christie, Ian. Audiences. Amsterdam University Press, 2013.

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46

1939-, Williams Christopher, ed. Cinema: The beginnings and the future : essays marking the centenary of the first film show projected to a paying audience in Britain. London: University of Westminster Press, 1996.

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47

Williams, Christopher. Cinema: The Beginnings and the Future : Essays Marking the Centenary of the First Film Show Projected to a Paying Audience in Britain. University of Westminster Press, 1996.

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48

Cinema Entertainment: Essays on Audiences, Films and Film Makers. McGraw-Hill Education, 2009.

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49

Ahmed, Omar. Studying Indian Cinema. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.001.0001.

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This book traces the historical evolution of Indian cinema through a number of key decades. The book is made up of 14 chapters with each chapter focusing on one key film, the chosen films are analysed in their wider social, political and historical context whilst a concerted engagement with various ideological strands that underpin each film is also evident. In addition to exploring the films in their wider contexts, the book analyses selected sequences through the conceptual framework common to both film and media studies. This includes a consideration of narrative, genre, representation, audience and mise en scène. The case studies run chronologically from Awaara (The Vagabond, 1951) to The Elements Trilogy: Water (2005) and include films by such key figures as Satyajit Ray (The Lonely Wife), Ritwick Ghatak (Cloud Capped Star), Yash Chopra (The Wall) and Mira Nair (Salaam Bombay!).
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50

Tulloch, John, and Belinda Middleweek. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0014.

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This book has provided a new reading of the transformation of intimacy that can be found in real sex films using an interdisciplinary perspective drawing on new risk sociology; feminist critical geography; and literary and film studies concepts such as structure of feeling, narrative, genre, stardom, social audience, spectatorship, and mise en scène. In this pursuit the book has incorporated a bricoleur methodology of social audience and textual analysis and devised a “soft ethnography” to explore the different authorial signatures on a filmic text. By viewing real sex cinema through a variety of theoretical, empirical, sociohistorical, and reflexive lenses, it has suggested ways that readers can bring to the cinematic experience their own search for a mutual understanding of ideas and perspectives and yet also, like our social audience groups in their discussions with one another, a sense of critical extension as well.
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