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100   $a20121204d2013      ub         0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 10$aKiller tapes and shattered screens $evideo spectatorship from VHS to file sharing /$fCaetlin Benson-Allott
205   $a1st ed.
210   $aBerkeley, CA $cUniversity of California Press$d2013
215   $a1 online resource (312 p.)
300   $aDescription based upon print version of record.
311   $a0-520-27512-8 
311   $a0-520-27510-1 
320   $aIncludes bibliographical references, filmography and index.
327   $tFrontmatter --$tContents --$tIllustrations --$tAcknowledgments --$tIntroduction. Opening Up to Home Video --$t1. Distributing the Dead Video Spectatorship in the Movies of George A. Romero --$t2. Addressing the "New Flesh" Videodrome's Format War --$t3. Reprotechnophobia Putting an End to Analog Abjection with The Ring --$t4. Going, Going, Grindhouse Simulacral Cinematicity and Postcinematic Spectatorship --$t5. Paranormal Spectatorship Faux Footage Horror and the P2P Spectator --$tConclusion. Power Play --$tNotes --$tBibliography --$tFilmography, Videography, and Gameography --$tIndex
330   $aSince 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.
606   $aCinematography$xTechnological innovations
606   $aDigital video$xProduction and direction$xData processing
606   $aHorror films$xHistory and criticism
606   $aMotion picture audiences
606   $aTechnology in motion pictures
606   $aVideo recordings industry
606   $aVideo recordings$xProduction and direction$xData processing
615  0$aCinematography$xTechnological innovations.
615  0$aDigital video$xProduction and direction$xData processing.
615  0$aHorror films$xHistory and criticism.
615  0$aMotion picture audiences.
615  0$aTechnology in motion pictures.
615  0$aVideo recordings industry.
615  0$aVideo recordings$xProduction and direction$xData processing.
676   $a791.43/656
700   $aBenson-Allott$b Caetlin Anne$01718201
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910826753503321
996   $aKiller tapes and shattered screens$94114990
997   $aUNINA