LEADER 03281nam  2200625 a 450 
001 9910454172403321
005 20200520144314.0
010   $a1-306-03354-3
010   $a1-55652-992-9
035   $a(CKB)1000000000693009
035   $a(EBL)409120
035   $a(OCoLC)437087433
035   $a(SSID)ssj0000206059
035   $a(PQKBManifestationID)11200936
035   $a(PQKBTitleCode)TC0000206059
035   $a(PQKBWorkID)10213250
035   $a(PQKB)10059027
035   $a(SSID)ssj0000592020
035   $a(PQKBManifestationID)12218539
035   $a(PQKBTitleCode)TC0000592020
035   $a(PQKBWorkID)10728734
035   $a(PQKB)11119861
035   $a(MiAaPQ)EBC409120
035   $a(Au-PeEL)EBL409120
035   $a(CaPaEBR)ebr10273968
035   $a(CaONFJC)MIL534605
035   $a(EXLCZ)991000000000693009
100   $a20000412d2000      uy             0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 10$aMovie wars$b[electronic resource] $ehow Hollywood and the media conspire to limit what films we can see /$fJonathan Rosenbaum
205   $a1st ed.
210   $aChicago, IL $cA Cappella$dc2000
215   $a1 online resource (242 p.)
300   $aDescription based upon print version of record.
311   $a1-55652-406-4 
311   $a1-55652-454-4 
320   $aIncludes bibliographical references and index.
327   $aMachine 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.
330   $aIs 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 anticommercial practices of Orson Welles, Movie Wars details the workings of the powerful forces that are in the proce
606   $aMotion pictures$zUnited States
608   $aElectronic books.
615  0$aMotion pictures
676   $a791.43/0973
700   $aRosenbaum$b Jonathan$0542268
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910454172403321
996   $aMovie wars$92482101
997   $aUNINA