The DVD Revolution: Movies, Culture, and TechnologyThe introduction of the DVD marked the beginning of one of history's most successful technological innovations, and capped a 75-year development of home-viewing possibilities. Never before have film fans had access in their living rooms to something so remarkably close to the theatrical experience. In addition, because a DVD can hold much more than a single movie, it has allowed films to be marketed with a variety of extras, sparking both a new packaging industry and greater interest on the part of home viewers. This book provides an examination of the DVD's impact, both on home viewing and on film study. From film fan culture through filmmaker commentaries, from special editions to a look at where the format will go from here, author Aaron Barlow offers the first-ever exploration of this explosive new entertainment phenomenon. |
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This book provides an examination of the DVD's impact , both on home viewing and on film study . From film fan culture through filmmaker commentaries , from " spe- cial editions " to a look at where the format will go from here , author ...
This book provides an examination of the DVD's impact , both on home viewing and on film study . From film fan culture through filmmaker commentaries , from " spe- cial editions " to a look at where the format will go from here , author ...
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And just as the CD altered the way music is made , the DVD is changing not only the movies but also our viewing habits . To really understand why the DVD is having such an impact , it is neces- sary to examine the cultural changes the ...
And just as the CD altered the way music is made , the DVD is changing not only the movies but also our viewing habits . To really understand why the DVD is having such an impact , it is neces- sary to examine the cultural changes the ...
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Over the next few years its impact in the home , on film scholarship , and on filmmaking will certainly increase . It is already evident . Nelson Coates , the production designer for Imposter ( Gary Fleder , 2002 ) , says that one of ...
Over the next few years its impact in the home , on film scholarship , and on filmmaking will certainly increase . It is already evident . Nelson Coates , the production designer for Imposter ( Gary Fleder , 2002 ) , says that one of ...
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What is there about new films that shows the impact of home viewing ? By looking closely at how some films of the past ( and not - so - past ) have been constructed and reconstructed , we can begin to create a picture of the changing ...
What is there about new films that shows the impact of home viewing ? By looking closely at how some films of the past ( and not - so - past ) have been constructed and reconstructed , we can begin to create a picture of the changing ...
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Despite the fears of film purists — and they are real ( for example , we may be losing close to the entire history of the 16mm avant - garde as a result of careless institutional switches to digital ) —the impact of new technologies on ...
Despite the fears of film purists — and they are real ( for example , we may be losing close to the entire history of the 16mm avant - garde as a result of careless institutional switches to digital ) —the impact of new technologies on ...
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Contenido
| 1 | |
CINEMATHEQUE FRANCAISE AT OUR HOUSE | 29 |
DVD FAN CULTURE | 55 |
THE SPECIAL EDITION DVD | 75 |
THE DVD AUDIO COMMENTARY | 109 |
THE DVD THE FILM SCHOLAR AND THE CLASSROOM | 127 |
THE QUESTION OF OWNERSHIP | 143 |
AFTERWORD | 157 |
NOTES | 161 |
SELECTED BIBLIOGRAPHY | 167 |
INDEX | 171 |
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Términos y frases comunes
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Pasajes populares
Página 6 - We know that the spectator finds it impossible to notice that the images which succeed one another before his eyes were assembled end-to-end, because the projection of film on the screen offers an impression of continuity although the images which compose it are, in reality, distinct, and are differentiated moreover by variations in space and time. "In a film, there can be hundreds, even thousands of cuts and intervals. But if...
Página 33 - We didn't need dialogue — we had faces! There aren't any faces anymore . . . there was a time when they had the eyes of the whole world; but that wasn't good enough for them. Oh, no! They had to have the ears of the world, too. So they opened their big mouths and out came talk, talk, talk.
Página vi - ... was defined by given possibilities, but the creation of a medium by their giving significance to specific possibilities. Only the art itself can discover its possibilities, and the discovery of a new possibility is the discovery of a new medium. A medium is something through which or by means of which something specific gets done or said in particular ways.
Página 46 - The last man who said that to me was Archie Leach, just a week before he cut his...
Página 35 - HENRI LANGLOIS for his devotion to the art of film, his massive contributions in preserving its past and his unswerving faith in its future. GROUCHO MARX in recognition of his brilliant creativity and for the unequalled achievements of the Marx Brothers in the art of motion picture comedy.
Página vi - Any account of the cinema that was drawn merely from the technical inventions that made it possible would be a poor one indeed. On the contrary, an approximate and complicated visualization of an idea invariably precedes the industrial discovery which alone can open the way to its practical use.
Página 39 - But my claim is that in the case of films, it is generally true that you do not really like the highest instances unless you also like typical ones. You don't even know what the highest are instances of unless you know the typical as well.
Página 87 - ... studies, its practitioners include Brummett, Nichols, and Robert Stam (Reflexivity in Film and Literature: From Don Quixote to Jean-Luc Godard, 1985; Subversive Pleasures: Bakhtin, Cultural Criticism, and Film, 1989). As cultural expression, films reveal not only the predispositions of filmmakers but they also serve ideological functions in the broader culture (as critique, as hegemonic force, as symptomatic) that can be analyzed as having a rhetorical function, especially to the extent that...
Página 33 - I seen you — ? NORMA. Or shall I call my servant? GILLIS. I know your face. You're Norma Desmond. You used to be in pictures. You used to be big. NORMA. I am big. It's the pictures that got small. GILLIS. I knew there was something wrong with them. NORMA. They're dead. They're finished. There was a time when this business had the eyes of the whole wide world. But that wasn't good enough. Oh, no! They wanted the ears of the world, too. So they opened their big mouths, and out came talk, talk, talk...
Página 65 - I fij-M hurl t" moyjss, even if I can no longer share them. The events associated with the experiences of books and music are only occasionally as important as the experience of the works themselves. The events associated with movies are those of companionship or lack of companionship: the audience of a book is essentially solitary, one soul at a time; the audience of music and theater is essentially larger than your immediate acquaintance — a gathering of the city; the crowd at a movie comprises...
Información bibliográfica
| Título | The DVD Revolution: Movies, Culture, and Technology |
| Autor | Aaron Barlow |
| Editor | Greenwood Publishing Group, 2005 |
| ISBN | 0275983870, 9780275983871 |
| Largo | 179 páginas |
| Exportar cita | BiBTeX EndNote RefMan |