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OverviewFull Product DetailsAuthor: Christian B. Long (The University of Queensland)Publisher: Intellect Imprint: Intellect Books Dimensions: Width: 17.80cm , Height: 1.90cm , Length: 22.90cm Weight: 0.689kg ISBN: 9781783208296ISBN 10: 1783208295 Pages: 300 Publication Date: 15 December 2017 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: In stock  We have confirmation that this item is in stock with the supplier. It will be ordered in for you and dispatched immediately. Table of ContentsImages and Maps Acknowledgments Introduction: Where Is Hollywood Cinema? Chapter 1 Burt Reynolds Brings the New South to Hollywood Chapter 2 New Hollywood, the Contemporary Midwest, and Collective Action Chapter 3 Getting Around the Suburbs in the Blockbuster Era’s Big Hits Colour Maps Chapter 4 Politics for Couch Potatoes: Video Rental Success Stories Chapter 5 Imagining More for Medium-Sized Cities, 1975–2000 Chapter 6 It’s Not Such a Small World After All: Disney Live Action Films in the 1960s Conclusion: Where Isn’t Hollywood Cinema? References Notes IndexReviews'The book sits well alongside other recent monographs of US cinema's spatial politics, such as Mark Shiel's Hollywood Cinema and the Real Los Angeles (2012) and Lawrence Webb's The Cinema of Urban Crisis (2014), and further demonstrates the value of geographical interpretations of cinema. In Chapters 2 and 3 in particular, Long brilliantly connects spatial content (and spatial politics) to wider shifting trends and industrial developments, revealing with clarity the tight interrelationship between dominant modes of filmmaking and the spaces that are being put on-screen. Whether his insights in this respect could only have been mobilized through the use of the literal maps that Long provides and from which his project launched is perhaps open to debate; however, he certainly succeeds in demonstrating that location is 'an underexplored and powerful explanatory force' shaping both the themes and the underlying ideologies of particular film texts and of the industry more generally (10). This is not to say that space crowds out other concerns; rather, paying attention to geography allows for the better placement - not only spatially, but culturally, historically and politically - of cinema. As Long states, 'Hollywood films that perform the best at the box office and in year-end prestige lists render a great deal of the United States - and the people who live there and their particular ways of life - invisible to their audiences' (233). This book does a great deal of useful work in rendering visible such absences and encouraging us to look for more.' -- Nick Jones, European Journal of American Culture '....Long's way of posing spatial questions about film is both stylistically and conceptually incisive. He puts his book's research interest in a nutshell when asking 'what - or better yet, exactly where - America means in Hollywood cinema' (p. 12, emphasis in original). In answering this question, The Imaginary Geography of Hollywood Cinema offers to expand the geographical horizon of what readers perceive as American film and as America on film.' -- Elisa Jochum, University College London, Historical Journal of Film, Radio and Television, 2019 Vol. 39, No. 1, 187-208 The book sits well alongside other recent monographs of US cinema's spatial politics. . . . Long brilliantly connects spatial content (and spatial politics) to wider shifting trends and industrial developments, revealing with clarity the tight interrelationship between dominant modes of filmmaking and the spaces that are being put on-screen. . . . He certainly succeeds in demonstrating that location is 'an under-explored and powerful explanatory force' shaping both the themes and the underlying ideologies of particular film texts and of the industry more generally. . . . This book does a great deal of useful work in rendering visible such absences and encouraging us to look for more. --European Journal of American Culture Long's way of posing spatial questions about film is both stylistically and conceptually incisive. He puts his book's research interest in a nutshell when asking 'what - or better yet, exactly where - 'America' means in Hollywood cinema' (p. 12, emphasis in original). In answering this question, The Imaginary Geography of Hollywood Cinema offers to expand the geographical horizon of what readers perceive as American film and as America on film. --Elisa Jochum Historical Journal of Film, Radio and Television The book sits well alongside other recent monographs of US cinema's spatial politics. . . . Long brilliantly connects spatial content (and spatial politics) to wider shifting trends and industrial developments, revealing with clarity the tight interrelationship between dominant modes of filmmaking and the spaces that are being put on-screen. . . . He certainly succeeds in demonstrating that location is 'an under-explored and powerful explanatory force' shaping both the themes and the underlying ideologies of particular film texts and of the industry more generally. . . . This book does a great deal of useful work in rendering visible such absences and encouraging us to look for more. --European Journal of American Culture Author InformationChristian B. Long works at Queensland University of Technology and is an honorary research fellow at the University of Queensland. Tab Content 6Author Website:Countries AvailableAll regions |
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