|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910454172403321 |
|
|
Autore |
Rosenbaum Jonathan |
|
|
Titolo |
Movie wars [[electronic resource] ] : how Hollywood and the media conspire to limit what films we can see / / Jonathan Rosenbaum |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Chicago, IL, : A Cappella, c2000 |
|
|
|
|
|
|
|
ISBN |
|
1-306-03354-3 |
1-55652-992-9 |
|
|
|
|
|
|
|
|
Edizione |
[1st ed.] |
|
|
|
|
|
Descrizione fisica |
|
1 online resource (242 p.) |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Motion pictures - United States |
Electronic books. |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
Description based upon print version of record. |
|
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references and index. |
|
|
|
|
|
|
Nota di contenuto |
|
Machine generated contents note: Acknowledgments v -- Introduction: Is the Producer Always Right? 1 -- Chapter One: Is the Cinema Really Dead? 19 -- Chapter Two: Some Vagaries of Distribution and Exhibition 39 -- Chapter Three: Some Vagaries of Promotion and Criticism 49 -- Chapter Four: At War with Cultural Violence: The Critical -- Reception of Small Soldiers 63 -- Chapter Five: Communications Problems and Canons 79 -- Chapter Six: The AFI's Contribution to Movie Hell: or, How -- I Learned to Stop Worrying and Love American Movies 91 -- Chapter Seven: Isolationism as a Control System 107 -- Chapter Eight: Multinational Pest Control: Does American -- Cinema Still Exist? 129 -- Chapter Nine: Trafficking in Movies (Festival-Hopping -- in the Nineties) 143 -- Chapter Ten: Orson Welles as Ideological Challenge 175 -- Conclusion: The Audience Is Sometimes Right 197 -- Index 227. |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
Is the cinema, as writers from David Denby to Susan Sontag have claimed, really dead? Contrary to what we have been led to believe, films are better than ever?we just can't see the good ones. Movie Wars cogently explains how movies are packaged, distributed, and promoted, and how, at every stage of the process, the potential moviegoer is treated with contempt. Using examples ranging from the New York Times's coverage of the Cannes film festival to the |
|
|
|
|