LEADER 03680nam 22005171 450 001 9910796977903321 005 20200514202323.0 010 $a1-5013-1439-4 010 $a1-5013-1441-6 010 $a1-5013-1440-8 024 7 $a10.5040/9781501314414 035 $a(CKB)4100000004975680 035 $a(MiAaPQ)EBC5439849 035 $a(OCoLC)1019844624 035 $a(UtOrBLW)bpp09261996 035 $a(EXLCZ)994100000004975680 100 $a20180531d2018 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aHollywood math and aftermath $ethe economic image and the digital recession /$fJ. D. Connor 210 1$aNew York :$cBloomsbury Academic,$d2018. 215 $a1 online resource (329 pages) 311 $a1-5013-6224-0 311 $a1-5013-1438-6 320 $aIncludes bibliographical references and index. 327 $aIntroduction: the equation of pictures -- The economic image: Hollywood dataculture and the moneyball of Moneyball -- Precession: Titanic: it's all on the screen -- Follow the money: the Warner '70s -- High concept the Chicago way: Dan Rostenkowski, Ferris Bueller, Eliot Ness -- Like some dummy corporation you just move around the board: tax credits and time travel -- Recession: two trailers from the opening of the Obama era -- The biggest independent pictures ever made -- Numbers, stations: Lost and the digital turn in U.S. television -- The piggies and the market -- The United States of America v. The wolf of Wall Street -- Conclusion. 330 8 $aMoney is Hollywood's great theme-but money laundered into something else, something more. Money can be given a particular occasion and career, as box office receipts, casino winnings, tax credits, stock prices, lotteries, inheritances. Or money can become number, and numbers can be anything: pixels, batting averages, votes, likes. Through explorations of all these and more, J.D. Connor's Hollywood Math and Aftermath provides a stimulating and original take on "the equation of pictures," the relationship between Hollywood and economics since the 1970s. Touched off by an engagement with the work of Gilles Deleuze, Connor demonstrates the centrality of the economic image to Hollywood narrative. More than just a thematic study, this is a conceptual history of the industry that stretches from the dawn of the neoclassical era through the Great Recession and beyond. Along the way, Connor explores new concepts for cinema studies: precession and recession, pervasion and staking, ostension and deritualization. Enlivened by a wealth of case studies-from The Big Short and The Wolf of Wall Street to Equity and Blackhat, from Moneyball to 12 Years a Slave, Titanic to Lost, The Exorcist to WALLE, De?ja? Vu to Upstream Color, Contagion to The Untouchables, Ferris Bueller to Pacific Rim, The Avengers to The Village-Hollywood Math and Aftermath is a bravura portrait of the industry coming to terms with its own numerical underpinnings 606 $aMoney in motion pictures 606 $aMotion picture industry$xEconomic aspects$zUnited States 606 $aMotion pictures$zUnited States$xHistory$y20th century 606 $2Film theory & criticism 615 0$aMoney in motion pictures. 615 0$aMotion picture industry$xEconomic aspects 615 0$aMotion pictures$xHistory 676 $a384/.830973 700 $aConnor$b J. D.$01505831 801 0$bUtOrBLW 801 1$bUtOrBLW 801 2$bUkLoBP 906 $aBOOK 912 $a9910796977903321 996 $aHollywood math and aftermath$93801759 997 $aUNINA