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Record Nr. |
UNINA9910811887703321 |
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Autore |
Sultanik Aaron |
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Titolo |
Cinemulacrum : a secret history of film-video, 1960-2010 / / Aaron Sultanik |
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Pubbl/distr/stampa |
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Lanham, Md., : University Press of America, Inc., c2012 |
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ISBN |
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1-280-67983-2 |
9786613656766 |
0-7618-5842-3 |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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1 online resource (139 p.) |
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Disciplina |
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Soggetti |
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Motion pictures - History |
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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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Nota di contenuto |
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CINEMULACRUM; Contents; Preface. Cinemulacrum: A Definition; A. Digital Film/Video: Reality Paradigm; B. Media Hegemony: Video, Fantasy, and the Young Adult; C. Cinemulacrum is not a Dystopia; Chapter 1. The Fall-and Rise-of Classical Hollywood: Ben-Hur (1959)-The Godfather (1972); Chapter 2. Neoclassicism and Postmodernism in the American Cinema of the Seventies; A. Violence, Populism, and the New Apocrypha: Dirty Harry (1971)-Rocky (1976); B. Bicentennial Blues: Taxi Driver (1974)-The Deer Hunter (1977); C. Looking Backward, Forwardly: Star Wars (1977)-Heaven's Gate (1982) |
Chapter 3. The Age of CinemulacrumA. The Making of Simulacra: The Empire Strikes Back (1980)-Revenge of the Sith (2005); B. The Hollywood Epic in the Age of Cinemulacrum: Platoon (1985)-The Return of the King (2003); C. The Comic Outsider, Underground Humor on TV, and the Rise of Black Culture: Saturday Night Live (1974)-Chappelle's Show (2003); D. Hollywood Redux: Risky Business (1985)-Million Dollar Baby (2004); E. Auteurs, Art Films, and the American Avant-Garde: Raging Bull (1980)-Psycho (1998); Afterword; Jean-Luc Godard and the Death of Cinema: Notre Musique (2005)-Avatar (2009) |
Addenda3 Axioms; The Copy, not the Original: The Archetype of Media Culture; Apocrypha of Violence; A Cinemulacrum Timeline; The 7 Ages of Cinemulacrum, or a Secret History of Film/Video; Index; About the Author |
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Sommario/riassunto |
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Cinemulacrum, a conflation of "cinema," the art of the Hollywood film, and simulacrum, a reality counterfeit, was coined to designate contemporary media culture. This book examines the fall-and rise-of classical Hollywood and the hegemony of television in a media dyad of movies and television. |
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