Useful cinema / edited by Charles R. Acland and Haidee Wasson
Typ materiálu: TextPublication details: Durham ; London : Duke University Press, 2011Popis: 386 s. : il. ; 24 cmISBN:- 9780822349976
- 9780822350095
Typ jednotky | Aktuální knihovna | Signatura | Stav | Půjčeno do | Čárový kód | |
---|---|---|---|---|---|---|
Kniha | Centrum dokumentárního filmu Cizojazyčné publikace E821 | E821/1480/ACL (Prohlédnout regál(Otevře se níže)) | Dostupné | E821/1480/ACL |
Procházení Centrum dokumentárního filmu regálů, Shelving location: Cizojazyčné publikace E821 Ukončit prohlížení regálu (Ukončí prohlížení regálu)
E821/1477/BIG An introduction to television studies | E821/1478/FLE Mimesis, movies, and media / | E821/1479/COW Walter Ruttmann and the cinema of multiplicity : avant-garde - advertising - modernity / | E821/1480/ACL Useful cinema / | E821/1482/CRO Visual ecology / | E821/1483/MAC Film manifestos and global cinema cultures a critical anthology / | E821/1501/GIA Understanding movies |
Obsahuje bibliografii, bibliografické odkazy a rejstřík
By exploring the use of film in mid-twentieth-century institutions, including libraries, museums, classrooms, and professional organizations, the essays in Useful Cinema show how moving images became an ordinary feature of American life. In venues such as factories and community halls, people encountered industrial, educational, training, advertising, and other types of “useful cinema.” Screening these films transformed unlikely spaces, conveyed ideas, and produced subjects in the service of public and private aims. Such functional motion pictures helped to shape common sense about cinema’s place in contemporary life. Whether measured in terms of the number of films shown, the size of audiences, or the economic activity generated, the “non-theatrical sector” was a substantial and enduring parallel to the more spectacular realm of commercial film. In Useful Cinema, scholars examine organizations such as UNESCO, the YMCA, the Amateur Cinema League, and the Metropolitan Museum of Art. They also consider film exhibition sites in schools, businesses, and industries. As they expand understanding of this other American cinema, the contributors challenge preconceived notions about what cinema is.
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