Killer Tapes and Shattered Screens


Book Description

Since 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.




Killer Tapes and Shattered Screens


Book Description

Since 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.




The Stuff of Spectatorship


Book Description

Film and television create worlds, but they are also of a world, a world that is made up of stuff, to which humans attach meaning. Think of the last time you watched a movie: the chair you sat in, the snacks you ate, the people around you, maybe the beer or joint you consumed to help you unwind—all this stuff shaped your experience of media and its influence on you. The material culture around film and television changes how we make sense of their content, not to mention the very concepts of the mediums. Focusing on material cultures of film and television reception, The Stuff of Spectatorship argues that the things we share space with and consume as we consume television and film influence the meaning we gather from them. This book examines the roles that six different material cultures have played in film and television culture since the 1970s—including video marketing, branded merchandise, drugs and alcohol, and even gun violence—and shows how objects considered peripheral to film and television culture are in fact central to its past and future.




Beyond the Screen


Book Description

Runner-up for the British Association of Film, Television and Screen Studies Best Book Prize 2015 Beyond the Screen presents an expanded conceptualization of cinema which encompasses the myriad ways film can be experienced in a digitally networked society where the auditorium is now just one location amongst many in which audiences can encounter and engage with films. The book includes considerations of mobile, web, social media and live cinema through numerous examples and case studies of recent and near-future developments. Through analyses of narrative, text, process, apparatus and audience this book traces the metamorphosis of an emerging cinema and maps the new spaces of spectatorship which are currently challenging what it means to be cinematic in a digitally networked era.




Remote Control


Book Description

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. While we all use remote controls, we understand little about their history or their impact on our daily lives. Caetlin Benson-Allot looks back on the remote control's material and cultural history to explain how such an innocuous media accessory has changed the way we occupy our houses, interact with our families, and experience the world. From the first wired radio remotes of the 1920s to infrared universal remotes, from the homemade TV controllers to the Apple Remote, remote controls shape our media devices and how we live with them. Object Lessons is published in partnership with an essay series in The Atlantic.




Snuff


Book Description

"Brings together scholars from film and media studies for the definitive academic study of 'real death' on screen - from horror cinema, to pornography, to online 'shock videos'"--




Media in Mind


Book Description

Where do you end, and where do media begin? In Media in Mind, author Daniel Reynolds draws upon naturalist philosophies of the mind from John Dewey through contemporary theories of embodied and extended cognition to make the case that the lines separating media from the minds of their users are not blurry or variable so much as they never existed to begin with. Through analyses of films and video games from 1900 to the present, Media in Mind shows how media forms and technologies challenge dominant models of perception and mental representation, and how they complicate theoretical understanding of concepts like the platform and the interface. In order to do justice to the profound and literally mind-changing power of media, Reynolds argues, we need to think not so much about the relationship between media and the mind as about the roles that media play in our minds. Through this crucial distinction, Media in Mind surveys more than a century of media theory to illustrate the ways that scholars of film and digital media have situated and reconsidered a series of divisions between media, user, and world, and how these conceptual divisions have reflected and inflected their ways of understanding the mind.




Medium Law


Book Description

Why should anyone care about the medium of communication today, especially when talking about media law? In today’s digital society, many emphasise convergence and seek new regulatory approaches. In Medium Law, however, the ‘medium theory’ insights of Harold Innis, Marshall McLuhan and the Toronto School of Communication are drawn upon as part of an argument that differences between media, and technological definitions, continue to play a crucial role in the regulation of the media. Indeed, Mac Síthigh argues that the idea of converged, cross-platform, medium-neutral media regulation is unattainable in practice and potentially undesirable in substance. This is demonstrated through the exploration of the regulation of a variety of platforms such as films, games, video-on-demand and premium rate telephone services. Regulatory areas discussed include content regulation, copyright, tax relief for producers and developers, new online services, conflicts between regulatory systems, and freedom of expression. This timely and topical volume will appeal to postgraduate students and postdoctoral researchers interested in fields such as Law, Policy, Regulation, Media Studies, Communications History, and Cultural Studies.




A Companion to Indian Cinema


Book Description

A new collection in the Wiley Blackwell Companions to National Cinemas series, featuring the cinemas of India In A Companion to Indian Cinema, film scholars Neepa Majumdar and Ranjani Mazumdar along with 25 established and emerging scholars, deliver new research on contemporary and historical questions on Indian cinema. The collection considers Indian cinema's widespread presence both within and outside the country, and pays particular attention to regional cinemas such as Bhojpuri, Bengali, Malayalam, Manipuri, and Marathi. The volume also reflects on the changing dimensions of technology, aesthetics, and the archival impulse of film. The editors have included scholarship that discusses a range of films and film experiences that include commercial cinema, art cinema, and non-fiction film. Even as scholarship on earlier decades of Indian cinema is challenged by the absence of documentation and films, the innovative archival and field work in this Companion extends from cinema in early twentieth century India to a historicized engagement with new technologies and contemporary cinematic practices. There is a focus on production cultures and circulation, material cultures, media aesthetics, censorship, stardom, non-fiction practices, new technologies, and the transnational networks relevant to Indian cinema. Suitable for undergraduate and graduate students of film and media studies, South Asian studies, and history, A Companion to Indian Cinema is also an important new resource for scholars with an interest in the context and theoretical framework for the study of India's moving image cultures.




Indefinite Visions


Book Description

Moving image culture seems to privilege the instantly identifiable: the recognizable face, the well-timed stunt, the perfectly synchronized line of dialogue. Yet perfect, in-focus visibility does not come 'naturally' to the moving image, and if there is one visual effect the eye of the camera can record better than the human eye it is blur. Looking beyond popular media to works of experimental cinema and video art, this groundbreaking collection addresses the aesthetics and politics of moving images in states of decay, distortion, indistinctness and fragmentation. A range of international scholars examines what is at stake in these images' sometimes radical foregrounding of materiality and mediation, or of evanescence and spectrality, as well as their challenging of the dominant position accorded to 'legible' images. How have artists and filmmakers rendered the 'indefinite' image, and what questions does it pose? With a range of approaches, from aesthetics to phenomenology to production studies, the authors in this volume investigate techniques, themes and concepts that emerge from this wilful excavation of the moving image's material base.