05296nam 2201129Ia 450 991077954000332120230803020729.00-520-95449-110.1525/9780520954496(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 processingapparatus theory.blu ray.box office.case studies.digital video.dvd.file sharing.film and culture.film audiences.film critics.film industry.film scholars.film studies.home viewing.horror movies.media studies.motion pictures.movie culture.movies.nonfiction.piracy.post cinematic.postmodern philosophy.prerecorded video.psychoanalysis.spectatorship.streaming services.thrillers.united states.vhs.video on demand.video platforms.video revenues.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 Anne1493877MiAaPQMiAaPQMiAaPQBOOK9910779540003321Killer tapes and shattered screens3717114UNINA