Relevant bibliographies by topics / Film reception

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Film reception'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Film reception"

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Hanifi, Muhammad Luthfan, and Redyanto Noor. "KRONIK FILMEDIA’S RECEPTION TOWARDS FLORIAN GALLENBERGER’S COLONIA." HUMANIKA 27, no. 1 (June 6, 2020): 11–22. http://dx.doi.org/10.14710/humanika.v27i1.29469.

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This paper analyzes the audience’s reception of Colonia, a 2016 film by Florian Gallenberger. As a popular work, Colonia is a docudrama film that presents historical events happened in Chile during the coup of General Augusto Pinochet in 1973. The problems analyzed in this article are the reception process of respondents and the quality of Colonia as popular films. The film is chosen for the study as it received five nominations from German Film Awards 2016 and won Bavarian Film Awards 2016 for Best Production category, but it only has a rating of 26% from 47 reviews by Rotten Tomatoes. The respondents involved in this study are members of Kronik Filmedia of Diponegoro University. Kronik Filmedia is the university film club that focuses on producing short films and appreciating films by conducting film discussions. The purpose of the study is to describe the reception processes of respondents who are affected by their horizon of expectations and to prove that not all of popular works are low literature. The theory used in this paper is the Aesthetic of Reception theory by Hans Robert Jauss. The main concept of this theory is horizon of expectations. Horizon of expectations is a reader’s preferences from the previous experiences or readings. For the methodology, this paper uses qualitative research and focus group discussion as the data collecting method. Focus group discussion is a gathering data method by means of interviewing respondents in a forum consisted of five to eight people. Focus group discussion is an effective method to observe a social phenomenon or a case study. The data obtained is then analyzed as texts to draw a conclusion. The research involves eight members of Kronik Filmedia as respondents. The results of the research show the reception of Kronik Filmedia as Colonia can satisfy and even surpass seven out of eight respondents’ horizon of expectations as the film goes to be more ‘interesting’ and ‘thrilling’. All respondents also view that Colonia is worth to be studied and discussed as those of high literature.
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Bridges, Emma, and Joanna Paul. "Reception." Greece and Rome 65, no. 2 (September 17, 2018): 277–82. http://dx.doi.org/10.1017/s0017383518000232.

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The cinematic and televisual reception of the ancient world remains one of the most active strands of classical reception study, so a new addition to the Wiley-Blackwell Companions series focusing on Ancient Greece and Rome on Screen is sure to be of use to students and scholars alike (especially given how often ‘Classics and Film’ courses are offered as a reception component of an undergraduate Classical Studies programme). The editor, Arthur Pomeroy, himself a respected and prolific ‘early adopter’ of this branch of scholarship, has assembled many of the leading names in cinematic reception studies (including Maria Wyke, Pantelis Michelakis, Alastair Blanshard, and Monica Cyrino), alongside a good number of more junior colleagues, resulting in a varied and rewarding compendium that will provide a useful accompaniment to more detailed explorations of this field. (Some, though not all, chapters offer further reading suggestions, and most are pitched at an accessible level.) The twenty-three contributions span the ‘canonical’ and already widely treated aspects of screen reception, from 1950s Hollywood epics to adaptations of Greek tragedy, as well as ranging across material which has only more recently began to attract the attention it deserves, such as TV documentary, or adaptations for younger audiences. The volume is not as easily navigable as it might be, with the four-part division of the chapters sometimes seeming a little arbitrary. (So, for example, a chapter which discusses ‘The Return of the Genre’ in films like Gladiator appears under the heading ‘Comedy, Drama, and Adaptation’, when it might have been better placed in the first section, on ‘The Development of the Depiction of Ancient Greece and Rome on Screen’.) But rich discussions are not hard to find, especially in those chapters which show how cinematic receptions are indicators of more widely felt concerns relating to our reception of the past, as in Blanshard's assessment of ‘High Art and Low Art Expectations: Ancient Greece in Film and Popular Culture’. Michelakis’ chapter on the early days of cinema is also a valuable distillation of some of his recent work on silent film, crisply and concisely setting out the plurality of approaches that must inform our understanding of the cinematic medium (for example, spectatorship, colour, and relationships to other media). More broadly, the collection makes a solid and welcome attempt to put this pluralism into practice, with Pomeroy stressing ‘the complexity of understanding film’ early in his introduction (3). Chapters focusing on music, and costumes, for example, allow us to see productions ‘in the round’, a panoptical perspective which is still too readily avoided by much classical reception scholarship. (It is also good to see at least one chapter which ranges beyond screen media in the West.) Other vital areas of film and TV studies could arguably have received more attention. Some contributors touch on the importance of assessing audience receptions of these films, or the impact of marketing and other industrial considerations (such as screening practices), but more chapters dedicated to these approaches might have been a more sustained reminder to readers of just how widely screen scholarship can (and often needs to) range. To that end, a particularly significant chapter in the book – one of only 3 by non-Classicists – is Harriet Margolis’ account of how film historians might evaluate ancient world film. Newcomers to this field should pay particular attention to this, and to Pomeroy's introductory comments on how we should regard film as much more than a quasi-literary medium.
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Till, Benedikt, Thomas Niederkrotenthaler, Arno Herberth, Martin Voracek, Gernot Sonneck, and Peter Vitouch. "Coping and Film Reception." Journal of Media Psychology 23, no. 3 (January 2011): 149–60. http://dx.doi.org/10.1027/1864-1105/a000048.

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This study investigated the impact of film dramas on the emotional and cognitive state of recipients, as well as mediating effects of different modes of film reception. Furthermore, associations between the modes of reception and individual favored coping strategies were examined. One hundred fifty nondepressive and nonsuicidal adults living in Austria watched one of three films featuring the death of the main character. Data on the viewers’ mood, inner tensions, self-esteem, life satisfaction, depression, suicidal tendencies, attitudes toward suicide, predominantly used modes of reception, and preferred coping strategies were collected with questionnaires that were handed out before and after seeing the movie. Results indicated that drama viewing was linked to both negative and positive effects: on the one hand, to a deterioration of mood as well as an increase of inner tensions and depression scores, and on the other hand, to a rise in self-esteem and life satisfaction as well as a drop in suicidal tendencies. The more a subject was involved in the film, the more pronounced were the negative impacts and the smaller were the positive reactions. The viewers’ preferred coping strategies were partly associated with the modes of reception: the more an individual preferred to seek social support when facing a problem, the more he or she identified with the drama’s protagonist and tried to find behavior patterns in the movie to improve his or her own life.
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Janet Staiger. "The Revenge of the Film Education Movement:." Reception: Texts, Readers, Audiences, History 1, no. 1 (2008): 43. http://dx.doi.org/10.5325/reception.1.1.0043.

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Nurmansyah, Ihsan. "Resepsi Hadis Tuntunan Sebelum dan Setelah Pernikahan Dalam Film Papi dan Kacung Episode 12-13." Living Islam: Journal of Islamic Discourses 2, no. 2 (November 24, 2019): 281. http://dx.doi.org/10.14421/lijid.v2i2.2015.

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This paper discusses the study of living hadith in the film “Papi dan Kacung” (read: PdK) episodes 12-13 uploaded by Qoryyan on Instagram in 2019. The film is a short film of Islamic nuances which in each scene shows a reception of the Prophet’s hadith, especially about guidance before and after marriage. In addition, one of the episodes of the film has received more comments from Instagram account users compared to other episodes. Therefore, to find out the variety of receptions on the Prophet’s hadith in the film “PdK” episodes 12-13 using reception theory introduced by Ahmad Rafiq. The results of this study are 1) exegetical reception manifested in the reading of the Book Riyadhus Shalihin and Minhajul Muslim: Konsep Hidup Ideal dalam Islam; 2) the aesthetic reception contained in the reading of the two hadith books accompanied by the backsound "I Came to Know Love"; 3) functional receptions are realized more inclined towards informative ie before men are married they should look for women who are righteous, while after marriage the husband helps with homework.
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Raw, Laurence. "Film-Kino-Zuschauer: filmrezeption/Film—Cinema—Spectator: film reception." Historical Journal of Film, Radio and Television 33, no. 1 (March 2013): 161–62. http://dx.doi.org/10.1080/01439685.2013.764729.

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Chon, Bum Soo, George Barnett, and Young Choi. "Clustering Local Tastes in Global Culture: The Reception Structure of Hollywood Films." Sociological Research Online 8, no. 1 (February 2003): 1–12. http://dx.doi.org/10.5153/sro.781.

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This paper describes the shared structure of Hollywood film consumption based on data obtained from the Variety International Film Guide (1995, 1998, 2000). It focuses on the consumption of the top 10 films in over 30 countries, using a longitudinal study to explain the structure of cultural consumption, how it has transformed over time, and how it is related to cultural factors. The results indicate that the structure of film consumption is comprised of three cultural clusters: local film-based, strong and weak homogenization clusters. The results suggest that countries consume the Hollywood films in different ways and have different selection for foreign films. Also, the results suggest that the film consumption pattern was significantly related to cultural zone network.
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Tkalec, Gordana, Iva Rosanda Žigo, and Žarka Dolinara. "Film Reception by Means of New Media or How the Film Escaped from the Cinema." European Journal of Interdisciplinary Studies 7, no. 2 (January 21, 2017): 105. http://dx.doi.org/10.26417/ejis.v7i2.p105-111.

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The biggest change in film reception occurred in the moment when the film audience began to watch films over the Internet, or with devices that can connect to it, i.e. computers, laptops and smartphones. The paper redefined notions of contemporary audience and different horizons of expectations, and a new horizon of expectations has been established, and that is the horizon of device expectations. Also, we have redefined the conative function i.e. the empty spaces function, individual and social reception of the film, while the theory of production relations in the case of the production of art has been applied to the film industry. The paper applies to the film received through social networks requirements of all characteristics of new media, which is also a novelty in scientific thinking.
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Agustian, Jaka Farih, and Budi Irawanto. "STUDI RESEPSI MANTAN ANAK JALANAN TERHADAP FILM ALANGKAH LUCUNYA NEGERI INI." Capture : Jurnal Seni Media Rekam 9, no. 2 (July 27, 2018): 27. http://dx.doi.org/10.33153/capture.v9i2.2106.

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<p>Social problems in the aspect of street children in Indonesia is still difficult to solve. The Data 2017 issued by the Minister of Social Khofifah Indar Parawansa said there are 4.1 million Indonesian children who are displaced and need protection. Thus, various media attempts to provide criticisms about social conditions in Indonesia, especially through the construction of street children's films. Film of Alangkah Lucunya Negeri Ini describes social problems of street children happening in Indonesia. This study aims to explain how the reception of exformer street children in watching the film Alangkah Lucunya Negeri Ini using the method of reception proposed by Stuart Hall, namely the concept of dominant hegemony, negotiation, and opposition. The results show that informant receptions arise due to different social and cultural dimensions in life as street children in the past. The informants also made the film Alangkah Lucunya Negeri Ini as reflection based on life experience. Thus, the presence of the film gives negative stigma of street children in social relations of society. Scene of film also brings the informant to feel the pleasure of watching that is expressed through both entertaining and emotional forms. Meanwhile, audience also responded activelly to the construction of street children films in social, educational, and religious discourse. Informants who are in the dominant code express their interest in film programs motivated by behavior and social experience as street children. While informants who are in a negotiating position try to be adaptive in adjusting the message in the film, but also have an attitude of opposition as a form of rejection. While the informants who placed themselves in the opposition expressed a different attitude to the construction offered in the film program. There is an element of discomfort with the presence of street children movies in their lives.</p><p><strong>Keywords</strong>: Reception studies, social film of street children, exformer street children, audience active</p>
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Kurnia, Novi. "CONSUMING GENDER AND DISABILITY IN INDONESIAN FILM." Jurnal ASPIKOM 3, no. 3 (September 21, 2017): 570. http://dx.doi.org/10.24329/aspikom.v3i3.175.

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This study aims to examine the film audience reception on gender and disabilities representation towards What We Don’t Talk About When We Talk About Love (Yang Tidak Dibicarakan Ketika Membicarakan Cinta, 2013). This film directed by a prominent Indonesian woman film director, Mouly Surya, and produced in 2013. Such audience study is very important in the scholarship of women and Indonesian films dominated by studies on women representation in the film and women filmmakers. Employing reception analysis based on Stuart Hall’s work, this study involves six Indonesian students as informant of a series of in-depth interviews. The study finds that the personal experiences and knowledge of informants, as well as their film habits, but not their gender, influences their interpretation toward the issue of gender and disabilities in the film.
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Dissertations / Theses on the topic "Film reception"

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Bisson, Vincent J. 1984. "Historical Film Reception: An Ethnographic Focus beyond Entertainment." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10816.

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xi, 180 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Drawing upon theories from folkloristics, history, and audience studies, this thesis analyzes historical films, their reception, and the importance of history and film in everyday life. Using an interdisciplinary approach, I demonstrate how a folkloric perspective may contribute to and strengthen the study ofhistorical films by emphasizing the attributes of narrative and belief at the vernacular level of reception. With an ethnographic and qualitative focus on the informal, common, and everyday film viewing habits of specific individuals in relation to historical belief, this project provides empirical evidence that is necessary for a more accurate understanding of the function and reception of historical films. This study also re-examines the formal aspects of historical films in relation to historical re-construction, the definition and categorization of such films, their reception, their function beyond entertainment, and the need for an integration of new research in both audience studies and folklore studies.
Committee in Charge: Dr. Daniel Wojcik, Chair; Dr. Jeffrey Hanes; Dr. Bish Sen
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Wimmer, Leila. "Cross-channel perspectives the French reception of British cinema." Oxford Bern Berlin Bruxelles Frankfurt, M. New York, NY Wien Lang, 2009. http://d-nb.info/992795982/04.

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Richmond, Aimee. "Transnational UK reception of contemporary Japanese horror film." Thesis, University of Sheffield, 2014. http://etheses.whiterose.ac.uk/8006/.

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This thesis examines the understanding of the contemporary Japanese horror film genre in the UK, taking into account the effects that the specificities of the UK cross-cultural context have upon audiences’ meaning-making. Analysis mainly revolves around six films selected based upon frequency of mention by participants: Ring (Nakata, 1998), Audition (Miike, 1999), Ju-on: The Grudge (Shimizu, 2004), Dark Water¬ (Nakata, 2002), Battle Royale (Fukusaku, 2000) and Ichi the Killer (Miike, 2001). Four focus groups and twenty individual interviews were conducted with individuals aged between eighteen and thirty years of age, all of whom self-identified as British. Responses were analysed in order to provide insight into three key areas: how UK audiences define the genre of contemporary Japanese horror film, the frameworks and processes they use in their definitions, and the meanings that they find in culturally-specific elements within these films. Both the Japanese and UK reception landscapes of contemporary Japanese horror film are outlined in order to provide necessary context. Ultimately, the research unearths a variety of interpretations of the contemporary Japanese horror film genre, which are reflective of a range of audience readings due in part to different levels of inter-cultural competence and personal preference. The study finds new channels of reception to be central in influencing transnational audience reception. Home viewing cultures and shifts from the original viewing context are further linked to the way in which audiences create experiences around the films, the influence of which lasts well beyond the point of reception. Alongside this, genre definition and film placements within those genres are shown to be an important factor in film reception, particularly in terms of influencing audience value judgments. Acknowledging the fragmented nature of the audience, hypotheses as to the development of an audience-led approach to transnational genre are outlined.
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Nyström, Camilla, and Harald Willén. "Film i skolan - Elevers tolkning och analys av historisk film." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-31110.

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Uppsatsen är en empirisk studie med en kvalitativ undersökning. Uppsatsen fokuserar på elevers audiovisuella förmåga. Dagens skola kräver andra redskap av dig som pedagog än vad gårdagens skola gjorde. En förändring som innebär många nya inlärningsmetoder som både kan vara positiva och negativa då kunskap om dessa kan vara bristfällig. Film är idag ett ledande medialt verktyg som kan användas till att öka elevers historiska kunskaper och intressen. Vår avsikt med den här uppsatsen är att försöka synliggöra hur elever tar till sig historiska fragment från film, samt att analysera vad orsaken till valet av dessa. Denna studie pekar på hur åttondeklasseleverna vid Färsinga lärcentrum i Sjöbo kommun uppfattar och tolkar historiska sekvenser på film. För att belysa och utforska problemet har vi använt oss av en intervjustudie. Slutsatsen visar att eleverna som grupp tillsammans har ett berikande historiemedvetande. Däremot är den enskilda elevens historiemedvetande mer begränsat. Denna situation kan bero på historiebruket, utvecklingspsykologiprocessen och identitetsskapandet som vi upplever kan vara en normal process.
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Polihronis, Andreas. "Reclaiming the popular : perception and reception of Hollywood film." Thesis, University of Kent, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310236.

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Jones, Matthew William. "The British reception of 1950s science fiction cinema." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/the-british-reception-of-1950s-science-fiction-cinema(b180c812-ec8b-4369-afe7-97da1bc14890).html.

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Scholarship on 1950s American science fiction cinema has tended to explore the relationship between these films and their domestic contexts of production and reception. They are often characterised as reflections of US anxieties about communism and nuclear technology. However, many such films were exported to Britain where these concerns were articulated and understood differently. The ways in which this different national context of reception shaped British interpretations of American science fiction cinema of this era has not yet been accounted for. Similarly, although some research has addressed 1950s British science fiction, this scholarship has been comparatively concise and has left gaps in our knowledge about the domestic reception of these films. Unable to draw on a British reception history of domestic and US 1950s science fiction cinema, debates about the genre have sometimes been underpinned by the presumption that western audiences responded to these films in a uniform manner. This thesis seeks to complicate our understanding of the genre by suggesting the specificity of the British reception history of science fiction cinema during the 1950s. The paucity of documentary evidence of British responses to 1950s science fiction films makes an audience study impossible. Within the intellectual framework of the New Film History, this thesis instead employs a contextually- activated approach to reception. Making extensive use of archival sources, newsreels, newspapers, magazines and other such documentary evidence, it explores some of the different contexts in which 1950s science fiction cinema was received in Britain and suggests how these factors might have shaped the interpretation of the genre. The thesis examines the interplay between American and British 1950s science fiction cinema and the British public understanding of communism, immigration, nuclear technology and scientific advancement. It contributes to our knowledge of these films by demonstrating that Britons did not necessarily understand 1950s science fiction cinema in the same way as Americans because they were party to a differently inflected series of public debates. It exposes the flexibility of the metaphors utilised by the genre during this period and their susceptibility to reinterpretation in different national contexts. This research makes visible, in a more extensive manner than has yet been accomplished, the specificity of the British reception history of 1950s science fiction cinema, and thereby provides a means to resist assumptions about the similarity of western audiences during this decade. Its conclusions call for further research into other national reception histories of these films, so that they too are not overshadowed by the better known American history of the genre, and into the possibility that the British reception history of other genres might similarly have been obscured.
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Dickson, Lesley-Ann. "Film festival and cinema audiences : a study of exhibition practice and audience reception at Glasgow Film Festival." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5693/.

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This thesis takes the view that film festivals are ‘social constructions’ and therefore need social subjects (people/audiences) to function. Nevertheless, Film Festival Studies, with its preoccupation with global economics and/or the political nature of these events, has arguably omitted the ‘audience voice’ meaning much of the empirical work on offer derives from market research by festivals themselves. As such, there is little conceptual contribution on what makes festivals culturally important to audiences or the ways in which festival practice differs from, or synergises with, broader cinematic practice. This thesis investigates exhibition practice and audience reception at Glasgow Film Festival (GFF) over three years (2011-13). The originality of the work is found in its contribution to the burgeoning field of Film Festival Studies and its methodological intervention as one of the earliest studies on film festival audiences. Using qualitative audience research methods, elite interviews and ethnography, it approaches film festival analysis through a nuanced lens. Furthermore, the positioning of the research within the interdisciplinary landscape of Film Festival Studies, Film Studies and Cultural Studies offers a broad context for understanding the appeal of ‘audience film festivals’ and the exhibition practices that exist within this often neglected type of film festival. The thesis argues that Glasgow Film Festival continuously negotiates its position as an event that is both populist and distinct, and local and international. Through its diverse programme (mainstream and experimental films, conventional and unconventional venues) and its discursive positioning of programmed films, it manages its position as both a local and inclusive event and a prestigious festival with aspirations of international recognition. More broadly, the thesis argues that festival exhibition is a multi-layered operation that strives to create a ‘total experience’ for audiences and in this respect it differs greatly from standard cinematic exhibition. Furthermore, I propose that – despite the fact that the raison d'être of film festivals is to present films – audiences privilege the contextual conditions of the event in their experiential accounts, articulating festival experiences (pleasures and displeasures) in spatial and corporeal terms. As such, the thesis serves to problematise Film Studies’ conventions of immersion and disembodiment by proposing that film festivals are predominantly sites of heightened participation, active spectatorship, and spatial and embodied pleasure.
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D, Markovic Emma, and Martin Nilsson. "“Vad är svenskhet för er?” *Lång tystnad* : En receptionsstudie om vilken roll filmen ”Sveriges bästa svensk” spelar i diskussioner som berör svenskhet och integration." Thesis, Uppsala universitet, Institutionen för informatik och media, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-314042.

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Title: “What is Swedishness for you?” *Long silence* – A reception study about what role film as a medium with the film “Sveriges bästa svensk” can play in discussions that consist of Swedishness and integration. Authors: Emma D Markovic and Martin Nilsson. Research problem: In terms of reception of film in order to generate discussions on a determined theme, we identified a gap in the research field of integration and Swedishness. Therefore this study fills a great space in this field. Aim & Research question: This study aims to add new research of the reception of film in relation to the concept of Swedishness. It’s written in the media and communication science field. The key question is: What role film as a medium with the film "Sveriges bästa svensk" as an example, can play to generate discussion and question the perception of Swedishness. Method/material: Qualitative focus group interviews were conducted with two groups consisting of people aged 50–80 years, where elders borned in Sweden and Iran were represented. Theoretical framework: Stuart Hall's theory of encoding/decoding which is enhanced by the following concepts: Swedishness, identity, ethnicity and cultural adjustment. Main results: It is shown that film plays an important role when it comes to generating discussion about Swedishness, but also that film as a medium is complex when it comes to reception and interpretation. In light of the theory it is clear that a majority of the participants have difficulties to relate to the film or even accept the story because of their preconceptions. It also proves to be difficult for all participants to point out what is typically Swedish, but during the discussions codes that distinguishes the Iranian culture from the Swedish are found, which helps them to more easily discern the things that are perceived as Swedish. Social importance: We want to contribute to the social debate about integration in contemporary Sweden. We found that film can be used to raise questions related to this subject. Number of pages: 40. Course: Media and communication studies C. University & Department: Uppsala University, Department of Informatics. Period: HT 2016. Tutor: Paola Sartoretto.
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Austin, Thomas. "Industry, intertexts and audiences : the marketing and reception of contemporary popular film in Britain." Thesis, University of East Anglia, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389273.

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Bermudez, Pilar Aurelia. "The Social Impact of "Brokeback Mountain:" A Reception Study." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_theses/125.

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The film "Brokeback Mountain" was released in December of 2005 into mainstream theaters and to general audiences. Director Ang Lee, screenwriters Diana Ossana and Larry McMurtry, and actors Heath Ledger and Jake Gyllenhaal made this film in which the storyline revolves around two men falling in love and how this forbidden love would affect the rest of their lives. The shock of having a film with two men kissing and having sex in the theaters seemed to have struck a nerve with many viewers. Some were very positive, hailing the film as a new step in mainstream films to show a queer relationship, others were negative, criticizing the film even at times condemning what was shown on the screen. The impact of the film made debate and conversations about queer content available to a public forum, in this case newspapers from around the country.
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Books on the topic "Film reception"

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

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Perverse spectators: The practices of film reception. New York: New York University Press, 2000.

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Jane, Arthurs, and Harindranath Ramaswami 1959-, eds. The Crash controversy: Censorship campaigns and film reception. London: Wallflower Press, 2001.

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Jackson, Russell. Shakespeare films in the making: Preparation, production and reception. New York: Cambridge University Press, 2007.

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Interpreting films: Studies in the historical reception of American cinema. Princeton, N.J: Princeton University Press, 1992.

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Hitchcock and the cinema of sensations: Embodied film theory and cinematic reception. London: I.B. Tauris, 2011.

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Genre, reception, and adaptation in the Twilight series. Aldershot, England: Ashgate, 2012.

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Cross-channel perspectives: The French reception of British cinema. New York: Peter Lang, 2009.

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The Midnight express phenomenon: The international reception of the film Midnight express (1978-2004). İstanbul: Isıs Press, 2005.

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Raskin, Richard. Nuit et Brouillard: On the making, reception and functions of a major documentary film. Stockholm: Proklama, 1987.

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Book chapters on the topic "Film reception"

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Hole, Kristin Lené, and Dijana Jelača. "Spectatorship and reception." In Film Feminisms, 52–88. London ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315618845-3.

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Villarejo, Amy. "The reception of film." In Film Studies, 117–40. 3rd ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429026843-5.

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Etherington-Wright, Christine, and Ruth Doughty. "Audience Research and Reception." In Understanding Film Theory, 199–212. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34392-4_13.

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Doughty, Ruth, and Christine Etherington-Wright. "Audience Research and Reception." In Understanding Film Theory, 283–99. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-58796-1_16.

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Biltereyst, Daniel, and Philippe Meers. "Film, cinema and reception studies." In Reception Studies and Audiovisual Translation, 21–42. Amsterdam: John Benjamins Publishing Company, 2018. http://dx.doi.org/10.1075/btl.141.03bil.

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Hills, Matt. "Horror Reception/Audiences." In A Companion to the Horror Film, 90–108. Hoboken, NJ, USA: John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118883648.ch6.

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Cerdán, Josetxo, and Miguel Fernández Labayen. "Almodóvar and Spanish Patterns of Film Reception." In A Companion to Pedro Almodóvar, 129–52. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118325360.ch6.

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Shankar, Arjun. "Participation, reception, consent, and refusal." In The Routledge International Handbook of Ethnographic Film and Video, 204–13. Other titles: International handbook of ethnographic film and video Description: Abingdon, Oxon; New York, NY: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429196997-23.

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Armitage, Shelley. "Who Was That Masked Man? Conception and Reception in The Lone Ranger." In The Post-2000 Film Western, 64–85. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137531285_5.

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Greiner, Rasmus. "Refiguring Historical Consciousness." In Cinematic Histospheres, 205–10. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_9.

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AbstractBy way of conclusion, this chapter examines the relationship between historical films and theories of historical culture. At the heart of its discussion is the thesis that appropriation of histospheres in spectators’ reception has a refigurative effect on our historical consciousness. On this view, the historical experiences generated by films augment the conceptions of history we have acquired from written accounts and sources with a physical-sensory dimension. Consequently, this chapter argues that two new forms of remembering make a substantial contribution to transforming our historical culture: The reminiscence triggers integrated in the audiovisual design of a historical film prompt spontaneous or “unbidden” memories that come to us contingently and are essentially receptive. The mise-en-histoire’s referentialization, by contrast, is a productive act of remembering.
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Conference papers on the topic "Film reception"

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Ning Guan, Hiroiku Tayama, and Koichi Ito. "A film antenna for digital terrestrial television reception." In 2010 IEEE International Symposium Antennas and Propagation and CNC-USNC/URSI Radio Science Meeting. IEEE, 2010. http://dx.doi.org/10.1109/aps.2010.5561242.

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Guan, Ning, Hiroiku Tayama, Ryouhei Hosono, and Hirotaka Furuya. "A folded film antenna for digital terrestrial television reception." In 2011 IEEE-APS Topical Conference on Antennas and Propagation in Wireless Communications. IEEE, 2011. http://dx.doi.org/10.1109/apwc.2011.6046757.

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Karkono, Karkono, Bani Sudardi, Istadiyantha Istadiyantha, and Titis Srimuda Pitana. "Community Reception Towards Poligamy Practice in Film of Air Mata Surga." In Proceedings of the Third International Conference of Arts, Language and Culture (ICALC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icalc-18.2019.29.

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Perdana, Dionni Ditya. "Reception Analysis of Related Audience by Watching “Sexy Killers” the Documentary Film." In 2nd International Media Conference 2019 (IMC 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200325.009.

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Fang, Zhijuan. "A Study on Japanese Film and TV Drama Remakes from the Perspective of Reception Aesthetics Centered on the Chinese Version of Midnight Food Store." In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.133.

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Eeckhaut, Stijn, Michiel Mertens, Stijn De Smet, Brecht Vermeulen, Luc Andries, and Mira Peltomaki. "Poster reception---Optimized large file access in storage clusters using common TCP/IP-based file transfer protocols." In the 2006 ACM/IEEE conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1188455.1188627.

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Antipov, A. A., S. V. Kutrovskaya, A. O. Kucherik, and D. S. Nogtev. "Reception of thin films from a liquid phase by means of laser radiation." In Fundamentals of Laser Assisted Micro- and Nanotechnologies 2010, edited by Vadim P. Veiko and Tigran A. Vartanyan. SPIE, 2010. http://dx.doi.org/10.1117/12.887252.

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Qian, Juan. "Study on the Oriental Aesthetic Value of “Eternal Love” Under the Receptional Aesthetics of Film." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.159.

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Palmer, Fare, Turner, Brandow, and Gaber. "Monolayer And Atomic Force Microscopy Studies Of Nicotinic Acetylcholine Receptor Films." In Proceedings of the Annual International Conference of the IEEE Engineering in Medicine and Biology Society. IEEE, 1992. http://dx.doi.org/10.1109/iembs.1992.589562.

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Palmer, Cynthia A., Thomas L. Fare, David C. Turner, Susan L. Brandow, Bruce P. Gaber, Cecile G. Silvestre, and David H. Cribbs. "Monolayer and atomic force microscopy studies of nicotinic acetylcholine receptor films." In 1992 14th Annual International Conference of the IEEE Engineering in Medicine and Biology Society. IEEE, 1992. http://dx.doi.org/10.1109/iembs.1992.5760885.

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