By Dr Janet Harbord
'Film Cultures is thought-provoking and not easy. via beginning movie thought as much as the various simultaneous networks of relation (that is, the cultures) of movie, it asks either viewer and scholar to take movie extra heavily' - verbal exchange study traits `Film Cultures weaves jointly insights from cultural conception and movie reviews to supply a posh and soaking up theoretical account of up to date movie tradition. Harbord writes with authority, mind's eye and wit and her soft deployment of modernist and postmodernist cultural bills makes lucrative studying' - Christine Geraghty, Professor of movie and tv, college of Glasgow movie Cultures argues that our tastes for movie attach us to social, spatial and temporal networks of trade and that means. even if we view movie within the multiplex, arthouse or the gallery, as cinema most appropriate, video lease or from a cable channel, no matter if we strategy movie as a novel item or a hypertext associated with ancillary items, our courting to movie is inhabiting a tradition. moving the point of interest of movie research from the textual content to paths of movement, movie Cultures questions how movie connects us to social prestige, and nationwide and worldwide affiliations.
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Extra info for Film Cultures
Together of these two terms, tumbling the bourgeois separation of art and life. In the dialectic of the avant-garde–bourgeoisie, the bourgeois reproach would be either full-scale rejection of the new form from the realms of culture, or its appropriation into the sphere of art by tracing lines of continuity between traditional artworks and film (the gallery). In the annals of film history, the two traditions of the avant-garde and bourgeois, of non-narrative and narrative film have become the canonized way of reading the work of Méliès and Lumière respectively.
For Armstrong, the moment of Kantian influence has passed, killed off critically and thoroughly through the discourses of structuralism and poststructuralism, stamped on as the ruling ideology by Eagleton and Bourdieu among others, leaving little in its place; aesthetics rendered a cartoon of a flattened body. What Armstrong 19 FILM CULTURES 20 draws our attention to is the context of Kant’s thesis as a key moment in the disengagement of aesthetic and economic value. This is a digression worth pursuing here as it informs the ongoing debate of the relationship between art and life, which returns at the moment of film’s emergence in the latter part of the nineteenth century.
The two strands of spectacle and surveillance were manifest less explicitly in the difference between the films of Lumière and Méliès. Yet the sites of exhibition of both types of work located film within the domain of entertainment and leisure rather than institutions of government surveillance or within the paradigm of collection in the museum, the sites across which photography had been dispersed. What then did a technological culture of entertainment mean for diverse groups, or perhaps a better way of asking the question, what interests were at work in the institutionalization of film?