Miklós Kiss and Steven Willemsen
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9781474406727
- eISBN:
- 9781474430470
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474406727.003.0002
- Subject:
- Film, Television and Radio, Film
Chapter 1 briefly introduces the trend of narrative complexity in contemporary cinema. It concisely positions narrative complexity within broader shifts in the audiovisual media landscape, including ...
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Chapter 1 briefly introduces the trend of narrative complexity in contemporary cinema. It concisely positions narrative complexity within broader shifts in the audiovisual media landscape, including the relation to recent developments in a techno-economical context, as well as this changing context’s impact on modes of viewing. This introductory chapter also briefly reviews existing studies on taxonomies that have so far offered formal-structural approaches to narrative complexity.Less
Chapter 1 briefly introduces the trend of narrative complexity in contemporary cinema. It concisely positions narrative complexity within broader shifts in the audiovisual media landscape, including the relation to recent developments in a techno-economical context, as well as this changing context’s impact on modes of viewing. This introductory chapter also briefly reviews existing studies on taxonomies that have so far offered formal-structural approaches to narrative complexity.
Uma Maheswari Bhrugubanda
- Published in print:
- 2018
- Published Online:
- February 2019
- ISBN:
- 9780199487356
- eISBN:
- 9780199093281
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199487356.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
If cinema has the power to possess people, persuade, or mesmerize them, how do we understand that compelling power? Is the display of devotion in the cinema hall the same as devotion in a temple? How ...
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If cinema has the power to possess people, persuade, or mesmerize them, how do we understand that compelling power? Is the display of devotion in the cinema hall the same as devotion in a temple? How have cinema and popular religion shaped each other? Through engaging with these questions, this book presents a genealogical study of the intersections between cinema, religion, and politics in South India. The first full-length study of the Telugu mythological and devotional films, this book combines a history of these genres with an anthropology of film-making and viewership practices. In the decades from the 1940s to the 2000s, it examines film texts, as well as methods of film-making and publicity, modes of film criticism as well as practices of viewership. The book draws on film and media theory to foreground the specificity of new technologies and the new kind of publics they create. Anthropological theories of religion, secularism, embodiment, and affect are combined with political theories of citizenship to complicate our understanding of the overlapping formations of film spectators, citizens, and devotees. It argues that the cinema offers a unique opportunity to explore the affective dimensions of citizenship and the formation of citizen–devotees.Less
If cinema has the power to possess people, persuade, or mesmerize them, how do we understand that compelling power? Is the display of devotion in the cinema hall the same as devotion in a temple? How have cinema and popular religion shaped each other? Through engaging with these questions, this book presents a genealogical study of the intersections between cinema, religion, and politics in South India. The first full-length study of the Telugu mythological and devotional films, this book combines a history of these genres with an anthropology of film-making and viewership practices. In the decades from the 1940s to the 2000s, it examines film texts, as well as methods of film-making and publicity, modes of film criticism as well as practices of viewership. The book draws on film and media theory to foreground the specificity of new technologies and the new kind of publics they create. Anthropological theories of religion, secularism, embodiment, and affect are combined with political theories of citizenship to complicate our understanding of the overlapping formations of film spectators, citizens, and devotees. It argues that the cinema offers a unique opportunity to explore the affective dimensions of citizenship and the formation of citizen–devotees.
Peter Lurie
- Published in print:
- 2011
- Published Online:
- March 2014
- ISBN:
- 9781617030208
- eISBN:
- 9781621033202
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617030208.003.0007
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter explores how the act of cinema-going in the racially organized and coded space of the southern Jim Crow movie house worked to construct and consolidate a white racial identity for ...
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This chapter explores how the act of cinema-going in the racially organized and coded space of the southern Jim Crow movie house worked to construct and consolidate a white racial identity for economically and/or spatially peripheral whites sampling the new goods, services, and pleasures available in modernizing, urbanizing environments. Drawing on recent scholarship on the social history of film viewership in the segregation-era South, it looks at the connections between white film spectatorship and the racializing activity of “consuming” racial violence in the form of spectacle lynching. The chapter examines these connections in William Faulkner’s fictions such as “Dry September” and Light in August in the context of viewership that is simultaneously inside and outside the operation of normative whiteness in Yoknapatawpha.Less
This chapter explores how the act of cinema-going in the racially organized and coded space of the southern Jim Crow movie house worked to construct and consolidate a white racial identity for economically and/or spatially peripheral whites sampling the new goods, services, and pleasures available in modernizing, urbanizing environments. Drawing on recent scholarship on the social history of film viewership in the segregation-era South, it looks at the connections between white film spectatorship and the racializing activity of “consuming” racial violence in the form of spectacle lynching. The chapter examines these connections in William Faulkner’s fictions such as “Dry September” and Light in August in the context of viewership that is simultaneously inside and outside the operation of normative whiteness in Yoknapatawpha.
