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Record Nr. |
UNINA9910779540003321 |
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Autore |
Benson-Allott Caetlin Anne |
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Titolo |
Killer tapes and shattered screens [[electronic resource] ] : video spectatorship from VHS to file sharing / / Caetlin Benson-Allott |
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Pubbl/distr/stampa |
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Berkeley, CA, : University of California Press, 2013 |
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ISBN |
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Descrizione fisica |
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1 online resource (312 p.) |
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Disciplina |
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Soggetti |
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Cinematography - Technological innovations |
Digital video - Production and direction - Data processing |
Horror films - History and criticism |
Motion picture audiences |
Technology in motion pictures |
Video recordings industry |
Video recordings - Production and direction - Data processing |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references, filmography and index. |
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Nota di contenuto |
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Frontmatter -- Contents -- Illustrations -- Acknowledgments -- Introduction. Opening Up to Home Video -- 1. Distributing the Dead Video Spectatorship in the Movies of George A. Romero -- 2. Addressing the "New Flesh" Videodrome's Format War -- 3. Reprotechnophobia Putting an End to Analog Abjection with The Ring -- 4. Going, Going, Grindhouse Simulacral Cinematicity and Postcinematic Spectatorship -- 5. Paranormal Spectatorship Faux Footage Horror and the P2P Spectator -- Conclusion. Power Play -- Notes -- Bibliography -- Filmography, Videography, and Gameography -- Index |
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Sommario/riassunto |
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Since the mid-1980s, US audiences have watched the majority of movies they see on a video platform, be it VHS, DVD, Blu-ray, Video On Demand, or streaming media. Annual video revenues have exceeded box office returns for over twenty-five years. In short, video has become the structuring discourse of US movie culture. Killer Tapes and Shattered Screens examines how prerecorded video reframes the premises and promises of motion picture spectatorship. But instead of |
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offering a history of video technology or reception, Caetlin Benson-Allott analyzes how the movies themselves understand and represent the symbiosis of platform and spectator. Through case studies and close readings that blend industry history with apparatus theory, psychoanalysis with platform studies, and production history with postmodern philosophy, Killer Tapes and Shattered Screens unearths a genealogy of post-cinematic spectatorship in horror movies, thrillers, and other exploitation genres. From Night of the Living Dead (1968) through Paranormal Activity (2009), these movies pursue their spectator from one platform to another, adapting to suit new exhibition norms and cultural concerns in the evolution of the video subject. |
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