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. |
Dentro del libro
Resultados 1-5 de 43
Página xi
Indeed , the DVD has thrown us unprepared into a whole new cinematic possibility where , among other things , the integrity of the film is of higher importance than ever before and its life is immeasurable .
Indeed , the DVD has thrown us unprepared into a whole new cinematic possibility where , among other things , the integrity of the film is of higher importance than ever before and its life is immeasurable .
Página xii
Of course , it is all of these things . Together , they present an irresistible technological ... Not quite the real thing , these responded to and increased — a demand for written entertainment . The DVD , though perhaps not purely for ...
Of course , it is all of these things . Together , they present an irresistible technological ... Not quite the real thing , these responded to and increased — a demand for written entertainment . The DVD , though perhaps not purely for ...
Página xiii
Consumers , after all , now see their films as more than merely things - in - themselves : the movie experience now includes after - market prod- ucts , Internet discussions , fan meets , and more . Yet fans want the artifact at the ...
Consumers , after all , now see their films as more than merely things - in - themselves : the movie experience now includes after - market prod- ucts , Internet discussions , fan meets , and more . Yet fans want the artifact at the ...
Página 5
Alcanzaste el límite de visualización de este libro.
Alcanzaste el límite de visualización de este libro.
Página 11
Alcanzaste el límite de visualización de este libro.
Alcanzaste el límite de visualización de este libro.
Comentarios de la gente - Escribir un comentario
No encontramos ningún comentario en los lugares habituales.
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 |
Otras ediciones - Ver todas
Términos y frases comunes
able actually allowing already American appear aspect attempts audience audio commentary become began beginning certainly Chapter characters cinema clearly collections commentary completely continue copy course create Criterion culture deal developed director discussion early edition especially example experience extras fact feel film filmmakers going Hollywood home viewing impact important industry interest Internet interview involved keep Langlois later least limitations look means medium merely move never offers opening original past played popular possible presentation Press production question reason record release remain says scenes scholars screen seen short simply soon sort sound studies Tarantino television theater theatrical things tion trying University versions videotape viewer watching writes York
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 |