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Books on the topic 'Film reception'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Ostrannenie: On "strangeness" and the moving image : the history, reception, and relevance of a concept. Amsterdam: Amsterdam University Press, 2010.

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12

Mutlu, Dilek Kaya. The Midnight express phenomenon: A historical materialist approach to the reception of the film Midnight express. St. Catharines, Ont: Brock University, Dept. of Communications, Popular Culture, and Film, 2003.

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13

Healers and redeemers: The reception and transformation of their medieval and late antique representations in literature, film and music. Trier: Wissenschaftlicher Verlag Trier, 2010.

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14

R, Hammond J. Lost horizon companion: A guide to the James Hilton novel and its characters, critical reception, film adaptations and place in popular culture. Jefferson, N.C: McFarland & Co., 2008.

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15

Raskin, Richard. Nuit et brouillard by Alain Resnais: On the making, reception and functions of a major documentary film including a new interview with Alain Resnais and the original shooting script. Aarhus: Aarhus University Press, 1987.

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16

Kwon, Dong Hwan. Westernized visual representation of Jesus and the construction of religious meanings: A reception analysis of the Jesus film (1979) among the Mangyan tribes. Lexington: Emeth Press, 2013.

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17

Siewert, Senta. Performing Moving Images. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985834.

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Performing Moving Images: Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion. Through a comparison of recent international case studies from festivals, museums, and gallery spaces, the book analyzes their new contexts, and describes the affective reception of those events. The study asks: what is the relationship between an aesthetic experience and memory at the point where film archives, cinema, and exhibition practices intersect? What can we learn from re-screenings, re-enactments, and found footage works, that are using archival material? How does the affective experience of the images, sounds and music resonate today? Performing Moving Images: Access, Archive and Affects proposes a theoretical framework from the perspective of the performative practice of programming, curating, and reconstructing, bringing in insights from original interviews with cultural agents together with an interdisciplinary academic discourse.

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18

Bradley, Sarah. Slackers, slashers and sticklers: Hollywood films and audience reception. St. Catharines, Ont: Brock University, Dept. of Communications, Popular Culture and Film, 2006.

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19

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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20

Kull, Wolfgang. Die Firmengeschichten Kiraco, Riweco und AJA. Kelkheim: Walz, 1998.

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21

Klinger, Barbara. Reception, The Film Reader. Routledge, 2009.

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22

Klinger, Barbara. Reception, The Film Reader. Routledge, 2009.

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23

Jeanne, Hall, ed. Gay and lesbian film production and reception. Baltimore, MD: Johns Hopkins University Press, 1992.

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24

Jeanne, Hall, ed. Gay and lesbian film production and reception. Athens, Ohio: Ohio University, School of Film, 1992.

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25

Christie, Ian. Audiences: Defining and Researching Screen Entertainment Reception. Amsterdam University Press, 2012.

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26

Crossover Cinema Crosscultural Film From Production To Reception. Taylor & Francis Ltd, 2013.

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27

Gerow, Aaron. Critical Reception: Historical Conceptions of Japanese Film Criticism. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199731664.013.005.

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28

(Editor), Matthew Kapell, and William G. Doty (Editor), eds. Jacking in to the Matrix Franchise: Cultural Reception and Interpretation. Continuum International Publishing Group, 2004.

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29

(Editor), Matthew Kapell, and William G. Doty (Editor), eds. Jacking in to the Matrix Franchise: Cultural Reception and Interpretation. Continuum International Publishing Group, 2004.

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30

Matthew, Kapell, and Doty William G. 1939-, eds. Jacking in to the Matrix franchise: Cultural reception and interpretation. New York: Continuum, 2004.

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31

Khorana, Sukhmani. Crossover Cinema: Cross-Cultural Film from Production to Reception. Taylor & Francis Group, 2016.

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32

Lamerichs, Nicolle. Productive Fandom: Intermediality and Affective Reception in Fan Cultures. Amsterdam University Press, 2018.

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33

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

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34

Agency And Media Reception Experiencing Video Games Film And Television. Springer VS, 2014.

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35

Shakespeare Films in the Making: Vision, Production and Reception. Cambridge University Press, 2007.

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36

Jackson, Russell. Shakespeare Films in the Making: Vision, Production and Reception. Cambridge University Press, 2004.

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37

Oever, Annie van den. Ostrannenie. On "Strangeness" and the Moving Image. The History, Reception, and Relevance of a Concept. Amsterdam University Press, 2010.

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38

Demy-Geroe, Anne. Iranian National Cinema: The Interaction of Policy, Genre, Funding and Reception. Taylor & Francis Group, 2020.

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39

Demy-Geroe, Anne. Iranian National Cinema: The Interaction of Policy, Genre, Funding and Reception. Taylor & Francis Group, 2020.

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40

Demy-Geroe, Anne. Iranian National Cinema: The Interaction of Policy, Genre, Funding and Reception. Taylor & Francis Group, 2020.

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41

Demy-Geroe, Anne. Iranian National Cinema: The Interaction of Policy, Genre, Funding and Reception. Taylor & Francis Group, 2020.

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42

Burnette-Bletsch, Rhonda. Bible in Motion: A Handbook of the Bible and Its Reception in Film. De Gruyter, Inc., 2016.

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43

Gustafsson, Tommy, and Pietari Kääpä, eds. Nordic Genre Film. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.001.0001.

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Nordic Genre Film offers a transnational approach to studying contemporary genre production in Nordic cinema. It discusses a range of internationally renowned examples, from Nordic noir such as the television show The Bridge and films like Insomnia (1997) to high concept ‘video generation’ productions such as Iron Sky (2012). Yet, genre, at least in this context, indicates both a complex strategy for domestic and international competition as well as an analytical means to identify the Nordic film cultures’ relationships to international trends. Conceptualizing Nordic genre film as an industrial and cultural phenomenon, other contributions focus on road movies, the horror film, autobiographical films, the quirky comedy, musicals, historical epics and pornography. These are contextualized by discussion of their place in their respective national film and media histories as well as their influence on other Nordic countries and beyond. By highlighting similarities and differences between the countries, as well as the often diverse production modes of each country, as well as the connections that have historically existed, the book works at the intersections of film and cultural studies and combines industrial perspectives and in depth discussion of specific films, while also offering historical perspectives on each genre as it comes to production, distribution and reception of popular contemporary genre film.

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44

Halle, Randall. The Film Apparatus. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038457.003.0002.

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This chapter illustrates how the discussion of cinematic apparatus was international and in many instances foundational for the establishment of film studies as a discipline. Apparatus offered a means to consider precisely the study of film as more than formal analysis of the projected image; it sought to arrive at a more comprehensive discussion of cinema. The production of the image was understood not simply as an industrial tale, but as a matter of signification, social relations, modes of production, methods of projection, space of reception, and subjective effects on spectators. In the 1960s, the discourse on the apparatus was connected to the quest for revolutionary forms. By the 1980s, the debates regarding apparatus theory became bogged down by considerations of ideology and an overwhelming focus on psychoanalytic models.

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45

Resnais, Alain, and Richard Raskin. Nuit Et Brouillard: On the Making, Reception and Functions of a Major Documentary Film. Aarhus Univ Pr, 1987.

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46

Sanders, Julie. Shakespeare and Music: Afterlives and Borrowings (Cultural Reception of Shakespeare). Blackwell Publishing Limited, 2007.

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47

Sanders, Julie. Shakespeare and Music: Afterlives and Borrowings (Cultural Reception of Shakespeare). Blackwell Publishing Limited, 2007.

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48

Mazor, Barry. Country Music and Film. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.7.

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This chapter presents an overview of available writing and research materials within country music history and cinema studies disciplines on the interaction of commercial country music and theatrical motion pictures—how the music and its practitioners have been represented on-screen and reception of both have been affected by that representation, and how the music has contributed to films. The deficit in systematic resources for study is described—the lack of country music film archives, filmographies of related motion pictures, and dedicated catalogues. Literature (or its absence) engaging country music and the screen as they evolved and related in the silent, prewar sound, postwar country music boom, and post-1970 “New Hollywood” periods is outlined. How country music performances have served narratives and as self-contained cinematic elements are differentiated, and film’s continuing use as an agency for shaping country’s cultural respectability is outlined.

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49

Jenkins, Thomas E. The Reception of Hesiod in the Twentieth and Twenty-first Centuries. Edited by Alexander C. Loney and Stephen Scully. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190209032.013.53.

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This chapter traces the reception of the Works and Days and Theogony in various media throughout the twentieth and twenty-first centuries, including film, television, video games, novels, essays, illustrations, and children’s literature. It argues that the Theogony’s greater emphasis on extended narrative episodes—particularly the violent Titanomachy—has spawned a comparatively greater number of receptions, while the Works and Day’s didactic tone and structure have lent themselves more readily to adaptations that stress the environment and/or management. Hesiod’s representation of women—both mortal and immortal—has engendered some of the most strongly ideological and passionate receptions, especially those concerning Athena, Gaia, and Pandora. The chapter concludes with a glance at the surprising reception of Hesiod in today’s newest media, including Twitter hashtags.

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50

Thomson, C. Claire. Symphony of a Short Film: A City Called Copenhagen. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0010.

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This chapter is devoted to a detailed account of the life cycle of one film, arguably the high water mark of Dansk Kulturfilm’s production: Jørgen Roos’ 1960 short A City Called Copenhagen. This film was nominated for an Academy Award in the Short Subject category. The commissioning process and funding negotiations for this film were prolonged and complex, and are referred to in the film itself, an example of its use of humour. The film was shot on the cusp of the 1960s, and so documents changes to the cityscape, including the presence of Arne Jacobsen’s SAS Hotel. A City Called Copenhagen also circulated very widely and in multiple languages, offering a rich history of distribution and reception. Shot on Eastmancolor stock, the film is an exemplar of how the material instantiation of informational films impacts on their life cycle, and illustrates how the use of digital restoration techniques can recover films for a new digital dispositif.

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