The Oxford Handbook of Film and Media Studies

The Oxford Handbook of Film and Media Studies

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The Oxford Handbook of Film and Media Studies is a major new reference work that provides the best single-volume source of original scholarship on the intersection of film and media studies. Comprised of twenty chapters written by experts in their fields, this work presents an authoritative, in-depth, and up-to-date assessment of film and media in the early twenty-first century in the U.S. and abroad. Some essays survey particular issues, such as the changing concept of 'realism' in film. Others look at current media practices, with special attention to new media. There are contributions by industry professionals, presenting an inside look at film and media today. The Handbook deals with issues as wide ranging and pertinent as copyright, globalization, television programming, video game genres, the ideologies of media, and movie going in India. As with other Oxford Handbooks, the contributors cover the field in a comprehensive yet accessible way that is suitable for those wishing to gain a good working knowledge of an area of study and where it's headed.
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Product details

  • Hardback | 640 pages
  • 174 x 246 x 46mm | 1,260.98g
  • Oxford, United Kingdom
  • English
  • 0195175964
  • 9780195175967
  • 1,767,306

About Robert Kolker

Robert Kolker has been teaching film for almost 40 years. He received his PhD in 18th Century English Literature from Columbia University, but moved quickly from literary to film criticism, beginning with a career interview with the documentary filmmakers David and Albert Maysles published in the British Film journal Sight and Sound) and has continued publishing in film and media to the present day. He has just published an introductory
textbook in Media Studies and is currently writing a book on postwar American film, The Extraordinary Image. It will be a prequel to A Cinema of Loneliness.
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Table of contents

Introduction ; 1. Jay David Bolter, Digital Media and the Future of Filmic Narrative ; 2. Brian Price, The Last Laoco:on ; 3. Devin Orgeron, Visual Media and the Tyranny of the Real ; 4. Francis Guerin, Radical Aspirations Historicized: The European Commitment to Political Documentary ; 5. Jeannene M. Przyblyski, Loss of Light: The Long Shadow of Photography in the Digital Age ; 6. Marsha Orgeron, Media Celebrity in the Age of the Image ; 7. Paul Young, Film Genre Theory and Contemporary Media: Description, Interpretation, Intermediality ; 8. Toby Miller and Mariana Johnson, The Who, What, When, Where, And How-Gilda Says Textual Analysis Needs To Learn From Political Economy And Ethnography ; 9. William Uricchio, Television's First 75 Years: The Interpretive Flexibility Of A Medium In Transition ; 10. Tara McPherson, "The end of TV as we know it": Convergence, Anxiety, Generic Innovation, and the Case of 24 ; 11. John Caldwell, Screen Practice and Conglomeration: How Reflexivity and Conglomeration Fuel Each Other ; 12. Evans Chan, The Chinese Action Image and Postmodernity ; 13. Joseph Schaub, When Cute Becomes Scary: The Young Female in Japanese Horror Cinema ; 14. Gina Marchetti, Asian Film and Digital Culture ; 15. Manjunath Pendakur, Popular Cinema and "New" Media in India ; 16. Cristina Venegas, Dreaming With Open Eyes: Latin American Media in the Digital Age ; 17. Andrew Flibbert, The Globalization of Filmmaking in Latin America and the Middle East ; 18. David Golumbia, Computers and Cultural Studies ; 19. Warren Buckland, Film and Media Studies Pedagogy ; 20. Peter Jaszi, Copyright, Fair Use, and Motion Pictures ; Appendix I. Tom Bernard, Evolution of Modern Day Independent Film Making ; Appendix II. Lee Berger & Richard Hollander, The Digital Revolution
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