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Screen Traffic : Movies, Multiplexes, and Global Culture /
In Screen Traffic, Charles R. Acland examines how, since the mid-1980s, the U.S. commercial movie business has altered conceptions of moviegoing both within the industry and among audiences. He shows how studios, in their increasing reliance on revenues from international audiences and from the anci...
| Autor principal: | |
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| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Durham :
Duke University Press,
2003.
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| Colección: | Book collections on Project MUSE.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Acland, Charles R., |d 1963- |e author. | |
| 245 | 1 | 0 | |a Screen Traffic : |b Movies, Multiplexes, and Global Culture / |c Charles R. Acland. |
| 264 | 1 | |a Durham : |b Duke University Press, |c 2003. | |
| 264 | 3 | |a Baltimore, Md. : |b Project MUSE, |c 2020 | |
| 264 | 4 | |c ©2003. | |
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| 505 | 0 | |a 1. Global audiences and the current cinema -- 2. Traveling cultures, mutating commodities -- 3. Matinees, summers, and the practice of cinemagoing -- 4. Crisis and settlement in exhibition and distribution -- 5. "Here come the megaplexes" -- 6. Zones and speeds of international cinematic life -- 7. Northern screens -- 8. The miniaturization of the theme park, or after the "death" of cinema -- 9. Cinemagoing as "felt internationalism" --- Appendices: -- 1. Screens per million population -- 2. World screen count -- 3. National average cinema admissions per person (annual) -- 4. Multiplexing in Europe -- 5. MPAA's goals for digital cinemas -- 6. Existing digital cinemas, 2000 -- 7. Digital movies released for DLP projectors. | |
| 520 | |a In Screen Traffic, Charles R. Acland examines how, since the mid-1980s, the U.S. commercial movie business has altered conceptions of moviegoing both within the industry and among audiences. He shows how studios, in their increasing reliance on revenues from international audiences and from the ancillary markets of television, videotape, DVD, and pay-per-view, have cultivated an understanding of their commodities as mutating global products. Consequently, the cultural practice of moviegoing has changed significantly, as has the place of the cinema in relation to other sites of leisure. Acland explores this transformation by investigating the generation and dissemination of a new understanding of Hollywood movies. Through an innovative integration of film and cultural theory, and with close examination of promotional materials, entertainment news, trade publications, and economic reports, Acland presents an array of evidence for the new understanding of movies and moviegoing that has developed within popular culture and the entertainment industry. | ||
| 588 | |a Description based on print version record. | ||
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| 650 | 7 | |a Motion picture audiences. |2 fast |0 (OCoLC)fst01027116 | |
| 650 | 7 | |a Culture in motion pictures. |2 fast |0 (OCoLC)fst01902963 | |
| 650 | 7 | |a SOCIAL SCIENCE |x Media Studies. |2 bisacsh | |
| 650 | 6 | |a Culture au cinema. | |
| 650 | 6 | |a Distribution des films. | |
| 650 | 6 | |a Cinema |x Publics. | |
| 650 | 0 | |a Culture in motion pictures. | |
| 650 | 0 | |a Motion pictures |x Distribution. | |
| 650 | 0 | |a Motion picture audiences. | |
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