01064cam0-22003491i-450-99000752201040332120060404155056.0000752201FED01000752201(Aleph)000752201FED0100075220120030814d1936----km-y0itay50------baitaITb-------001yy<<I >>terremoti in ItaliaMario BarattaFirenzeLe Monnier1936VIII, 180 p., 2 c. geogr. ripieg. col.24 cmPubblicazioni della Commissione italiana per lo studio delle grandi calamità0006In testa al front.: R. Accademia Nazionale dei LinceiItaliaTerremoti551.220945Baratta,Mario<1868-1935>36019ITUNINARICAUNIMARCBK990007522010403321E-06-051Ist.2888ILFGEXXXII Ant. 22138247FSPBCILFGEFSPBCTerremoti in Italia44212UNINA04343nam 2200745Ia 450 991045273240332120200520144314.00-520-95449-110.1525/9780520954496(CKB)2550000001039490(EBL)1157661(OCoLC)833574032(SSID)ssj0000856353(PQKBManifestationID)11471353(PQKBTitleCode)TC0000856353(PQKBWorkID)10818764(PQKB)11039785(MiAaPQ)EBC1157661(OCoLC)867121990(MdBmJHUP)muse31116(DE-B1597)518655(DE-B1597)9780520954496(Au-PeEL)EBL1157661(CaPaEBR)ebr10681975(CaONFJC)MIL475687(EXLCZ)99255000000103949020121204d2013 ub 0engur|n|---|||||txtccrKiller tapes and shattered screens[electronic resource] video spectatorship from VHS to file sharing /Caetlin Benson-AllottBerkeley, CA University of California Press20131 online resource (312 p.)Description based upon print version of record.0-520-27512-8 0-520-27510-1 Includes bibliographical references, filmography and index.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 -- IndexSince 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 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.CinematographyTechnological innovationsDigital videoProduction and directionData processingHorror filmsHistory and criticismMotion picture audiencesTechnology in motion picturesVideo recordings industryVideo recordingsProduction and directionData processingElectronic books.CinematographyTechnological innovations.Digital videoProduction and directionData processing.Horror filmsHistory and criticism.Motion picture audiences.Technology in motion pictures.Video recordings industry.Video recordingsProduction and directionData processing.791.43/656Benson-Allott Caetlin Anne1055395MiAaPQMiAaPQMiAaPQBOOK9910452732403321Killer tapes and shattered screens2488751UNINA