LEADER 04105nam 22006011 450 001 9910812450303321 005 20230803032550.0 010 $a0-292-74775-6 024 7 $a10.7560/747746 035 $a(CKB)3170000000060206 035 $a(EBL)3443694 035 $a(SSID)ssj0001000706 035 $a(PQKBManifestationID)11537167 035 $a(PQKBTitleCode)TC0001000706 035 $a(PQKBWorkID)10960731 035 $a(PQKB)10063609 035 $a(MiAaPQ)EBC3443694 035 $a(OCoLC)859154950 035 $a(MdBmJHUP)muse25063 035 $a(Au-PeEL)EBL3443694 035 $a(CaPaEBR)ebr10768927 035 $a(OCoLC)899045091 035 $a(DE-B1597)587698 035 $a(DE-B1597)9780292747753 035 $a(EXLCZ)993170000000060206 100 $a20130227d2013 ub 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aTheorizing art cinemas $eforeign, cult, avant-garde, and beyond /$fby David Andrews 205 $aFirst edition. 210 1$aAustin :$cUniversity of Texas Press,$d2013. 215 $a1 online resource (310 p.) 300 $aDescription based upon print version of record. 311 $a0-292-74774-8 320 $aIncludes bibliographical references and index. 327 $aIntroduction: correcting art cinema's partial vision -- pt. 1. art, auteurism, and the world -- art as genre as canon: defining "art cinema" -- no start, no end: auteurism and the auteur theory -- from "foreign films" to "world cinema" -- pt. 2. formats and fetishes -- recovery and legitimation in the traditional art film -- losing the asterisk: a theory of cult-art cinema -- revisiting "the two avant-gardes" -- sucking the mainstream: a theory of mainstream art cinema -- pt. 3. institutions and distributions -- re-integrating stardom ( . . . or technology or reception or . . . ) -- art cinema as institution, redux: art houses, film festivals, and film studies -- art cinema, the distribution theory -- epilogue. beyond, before cinephilia. 330 $aThe term ?art cinema? has been applied to many cinematic projects, including the film d?art movement, the postwar avant-gardes, various Asian new waves, the New Hollywood, and American indie films, but until now no one has actually defined what ?art cinema? is. Turning the traditional, highbrow notion of art cinema on its head, Theorizing Art Cinemas takes a flexible, inclusive approach that views art cinema as a predictable way of valuing movies as ?art? movies?an activity that has occurred across film history and across film subcultures?rather than as a traditional genre in the sense of a distinct set of forms or a closed historical period or movement. David Andrews opens with a history of the art cinema ?super-genre? from the early days of silent movies to the postwar European invasion that brought Italian Neorealism, the French New Wave, and the New German Cinema to the forefront and led to the development of auteur theory. He then discusses the mechanics of art cinema, from art houses, film festivals, and the academic discipline of film studies, to the audiences and distribution systems for art cinema as a whole. This wide-ranging approach allows Andrews to develop a theory that encompasses both the high and low ends of art cinema in all of its different aspects, including world cinema, avant-garde films, experimental films, and cult cinema. All of these art cinemas, according to Andrews, share an emphasis on quality, authorship, and anticommercialism, whether the film in question is film festival favorite or a midnight movie. 606 $aAvant-garde (Aesthetics) 606 $aExperimental films$xHistory and criticism 615 0$aAvant-garde (Aesthetics) 615 0$aExperimental films$xHistory and criticism. 676 $a791.43/611 700 $aAndrews$b David$f1970-$01132310 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910812450303321 996 $aTheorizing art cinemas$94002250 997 $aUNINA