LEADER 03828nam 2200613 a 450 001 9910777694703321 005 20230617010305.0 010 $a0-292-79725-7 024 7 $a10.7560/706002 035 $a(CKB)1000000000454136 035 $a(OCoLC)614989247 035 $a(CaPaEBR)ebrary10194800 035 $a(SSID)ssj0000125360 035 $a(PQKBManifestationID)11141330 035 $a(PQKBTitleCode)TC0000125360 035 $a(PQKBWorkID)10026452 035 $a(PQKB)10142394 035 $a(MiAaPQ)EBC3443122 035 $a(OCoLC)60745341 035 $a(MdBmJHUP)muse2087 035 $a(Au-PeEL)EBL3443122 035 $a(CaPaEBR)ebr10194800 035 $a(DE-B1597)587317 035 $a(DE-B1597)9780292797253 035 $a(EXLCZ)991000000000454136 100 $a20040402d2004 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aComing attractions$b[electronic resource] $ereading American movie trailers /$fLisa Kernan 205 $a1st ed. 210 $aAustin $cUniversity of Texas Press$d2004 215 $a1 online resource (309 p.) 225 1 $aTexas film and media series 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-292-70600-6 320 $aFilmography of trailers viewed: p. 219-232. 320 $aIncludes bibliographical references (p. [271]-286) and index. 327 $tFrontmatter -- $tContents -- $tAcknowledgments -- $tChapter 1 Trailers: A Cinema of (Coming) Attractions -- $tChapter 2 Trailer Rhetoric -- $tChapter 3 The Classical Era: The "Mythic Universal American" -- $tChapter 4 The Transitional Era: Chasing the Elusive Audience -- $tChapter 5 The Contemporary Era: The Global Family Audience -- $tChapter 6 Conclusion. The Cinema Is Dead: Long Live the Cinema of (Coming) Attractions -- $tFilmography of Trailers Viewed -- $tNotes -- $tSelected Bibliography -- $tIndex 330 $aMovie trailers-those previews of coming attractions before the start of a feature film-are routinely praised and reviled by moviegoers and film critics alike: "They give away too much of the movie." "They're better than the films." "They only show the spectacular parts." "They lie." "They're the best part of going to the movies." But whether you love them or hate them, trailers always serve their purpose of offering free samples of a film to influence moviegoing decision-making. Indeed, with their inclusion on videotapes, DVDs, and on the Internet, trailers are more widely seen and influential now than at any time in their history. Starting from the premise that movie trailers can be considered a film genre, this pioneering book explores the genre's conventions and offers a primer for reading the rhetoric of movie trailers. Lisa Kernan identifies three principal rhetorical strategies that structure trailers: appeals to audience interest in film genres, stories, and/or stars. She also analyzes the trailers for twenty-seven popular Hollywood films from the classical, transitional, and contemporary eras, exploring what the rhetorical appeals within these trailers reveal about Hollywood's changing conceptions of the moviegoing audience. Kernan argues that movie trailers constitute a long-standing hybrid of advertising and cinema and, as such, are precursors to today's heavily commercialized cultural forms in which art and marketing become increasingly indistinguishable. 410 0$aTexas film and media studies series. 606 $aFilm trailers$zUnited States 615 0$aFilm trailers 676 $a791.43/75/0973 700 $aKernan$b Lisa$01524521 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910777694703321 996 $aComing attractions$93765410 997 $aUNINA