[PDF] Film Programming eBook

Author : Peter Bosma
Publisher : Columbia University Press
Page : 218 pages
File Size : 46,5 MB
Release : 2015-06-09
Category : Performing Arts
ISBN : 0231850824

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This study explores artistic choices in cinema exhibition, focusing on film theaters, film festivals, and film archives and situating film-curating issues within an international context. Artistic and commercial film availability has increased overwhelmingly as a result of the digitization of the infrastructure of distribution and exhibition. The film trade's conventional structures are transforming and, in the digital age, supply and demand can meet without the intervention of traditional gatekeepers—everybody can be a film curator, in a passive or active way. This volume addresses three kinds of readers: those who want to become film curators, those who want to research the film-curating phenomenon, and those critical cinema visitors who seek to investigate the story behind the selection process of available films and the way to present them.

Author : Cynthia Lucia
Publisher : University of Texas Press
Page : 393 pages
File Size : 41,55 MB
Release : 2017-11-01
Category : Performing Arts
ISBN : 1477313435

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Digital technology and the Internet have revolutionized film criticism, programming, and preservation in deeply paradoxical ways. The Internet allows almost everyone to participate in critical discourse, but many print publications and salaried positions for professional film critics have been eliminated. Digital technologies have broadened access to filmmaking capabilities, as well as making thousands of older films available on DVD and electronically. At the same time, however, fewer older films can be viewed in their original celluloid format, and newer, digitally produced films that have no “material” prototype are threatened by ever-changing servers that render them obsolete and inaccessible. Cineaste, one of the oldest and most influential publications focusing on film, has investigated these trends through a series of symposia with the top film critics, programmers, and preservationists in the United States and beyond. This volume compiles several of these symposia: “Film Criticism in America Today” (2000), “International Film Criticism Today” (2005), “Film Criticism in the Age of the Internet” (2008), “Film Criticism: The Next Generation” (2013), “The Art of Repertory Film Exhibition and Digital Age Challenges” (2010), and “Film Preservation in the Digital Age” (2011). It also includes interviews with the late, celebrated New Yorker film critic Pauline Kael and the critic John Bloom (“Joe Bob Briggs”), as well as interviews with the programmers/curators Peter von Bagh and Mark Cousins and with the film preservationist George Feltenstein. This authoritative collection of primary-source documents will be essential reading for scholars, students, and film enthusiasts.

Author : Kati Irons
Publisher : ALA Editions
Page : 169 pages
File Size : 40,84 MB
Release : 2014
Category : Language Arts & Disciplines
ISBN : 9780838911976

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Film programming can seem more complicated than other kids of programming libraries offer. Irons, development library for the Film and Music Collection at the Pierce County Library System in Washington State, provides inspiration on aspects such as licensing, marketing, equipment, film advisory, and film displays.

Author : Jeffrey Ruoff
Publisher :
Page : 259 pages
File Size : 36,41 MB
Release : 2012
Category : Film festivals
ISBN : 9781908437037

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This is an outstanding anthology of work on film-festival programming. Combining theoretical and historical overviews with detailed studies of individual festivals and personal testimonies from experts long associated with film festivals, the book makes a thorough, wide-ranging

Author : Megan Mullen
Publisher : University of Texas Press
Page : 247 pages
File Size : 26,93 MB
Release : 2009-06-23
Category : Performing Arts
ISBN : 0292778694

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Winner, McGannon Communications Research Award, 2004 In 1971, the Sloan Commission on Cable Communications likened the ongoing developments in cable television to the first uses of movable type and the invention of the telephone. Cable's proponents in the late 1960s and early 1970s hoped it would eventually remedy all the perceived ills of broadcast television, including lowest-common-denominator programming, inability to serve the needs of local audiences, and failure to recognize the needs of cultural minorities. Yet a quarter century after the "blue sky" era, cable television programming closely resembled, and indeed depended upon, broadcast television programming. Whatever happened to the Sloan Commission's "revolution now in sight"? In this book, Megan Mullen examines the first half-century of cable television to understand why cable never achieved its promise as a radically different means of communication. Using textual analysis and oral, archival, and regulatory history, she chronicles and analyzes cable programming developments in the United States during three critical stages of the medium's history: the early community antenna (CATV) years (1948-1967), the optimistic "blue sky" years (1968-1975), and the early satellite years (1976-1995). This history clearly reveals how cable's roots as a retransmitter of broadcast signals, the regulatory constraints that stymied innovation, and the economic success of cable as an outlet for broadcast or broadcast-type programs all combined to defeat most utopian visions for cable programming.

Author : Bridgette Wessels
Publisher : Manchester University Press
Page : 207 pages
File Size : 27,23 MB
Release : 2022-12-20
Category : Performing Arts
ISBN : 1526157837

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Reception studies have made film audiences increasingly visible, while surveys track trends and policymakers gather information about audience preferences and demographics. But little attention has been paid to the specific contextual relationships and interactions between films and individuals that generate and sustain audiences. This monograph develops the idea of audiences as interactive and relational, introducing three innovative concepts: ‘personal film journeys’, five types of audience formations and five geographies of film provision. A major challenge of audience research is how to capture the richness of people’s social and cultural engagement with film. To achieve this, the book uses an innovative mixed-methods research and computational ontology. It develops ground-breaking theory and concepts and an innovative methodology based on an extensive data-set derived from the under-researched area of British regional film audiences.

Author :
Publisher :
Page : 106 pages
File Size : 31,64 MB
Release : 1956-08-11
Category :
ISBN :

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In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.

Author : Erin Franziska Högerle
Publisher : Walter de Gruyter GmbH & Co KG
Page : 355 pages
File Size : 47,10 MB
Release : 2020-10-26
Category : Social Science
ISBN : 3110696657

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Responding to a lack of studies on the film festival’s role in the production of cultural memory, this book explores different parameters through which film festivals shape our reception and memories of films. By focusing on two Asian American film festivals, this book analyzes the frames of memory that festivals create for their films, constructed through and circulated by the various festival media. It further establishes that festival locations—both cities and screening venues—play a significant role in shaping our experience of films. Finally, it shows that festivals produce performances which help guide audiences towards certain readings and direct the film’s role as a memory object. Bringing together film festival studies and memory studies, 'Asian American Film Festivals' offers a mixed-methods approach with which to explore the film festival phenomenon, thus shedding light on the complex dynamics of frames, locations, and performances shaping the festival’s memory practices. It also draws attention to the understudied genre of Asian American film festivals, showing how these festivals actively engage in constructing and performing a minority group’s collective identity and memory.