Movies on our minds : the evolution of cinematic engagement / James E. Cutting.
"We used to go to the movies. We used to speak of flicks, even flicking out. We used to stand in line with friends in delicious anticipation to buy tickets for a movie that got a rapturous review. We used to be ushered into blinding darkness within cavernous halls of downtown gilded-age theater...
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Full Text (via ProQuest) |
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| Format: | eBook |
| Language: | English |
| Published: |
New York, NY :
Oxford University Press,
[2021]
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| Subjects: |
MARC
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| 100 | 1 | |a Cutting, James E., |e author. |0 http://id.loc.gov/authorities/names/n85213053 |1 http://isni.org/isni/0000000116151661. | |
| 245 | 1 | 0 | |a Movies on our minds : |b the evolution of cinematic engagement / |c James E. Cutting. |
| 264 | 1 | |a New York, NY : |b Oxford University Press, |c [2021] | |
| 264 | 4 | |c ©2021. | |
| 300 | |a 1 online resource (xiv, 382 pages) : |b illustrations (some color) | ||
| 336 | |a text |b txt |2 rdacontent. | ||
| 337 | |a computer |b c |2 rdamedia. | ||
| 338 | |a online resource |b cr |2 rdacarrier. | ||
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a 1. The Power of Movies and a Method to Study It -- 2. Popular Movies and Technology -- 3. Viewing and Lenses -- 4. Mise-en-Cadre -- 5. Transitions -- 6. An Interlude on Shots and Cultural Change -- 7. Shots and Sound -- 8. The Most Important Shot in Popular Cinema -- 9. Continuity, Discontinuity, and Scenes -- 10. Montages, Sequences, and Syntagmas -- 11. Stories and Their Parts -- 12. Narrational Complexity -- 13. The Web and Flow of Popular Cinema -- 14. Structure, Engagement, and Evolution. | |
| 520 | |a "We used to go to the movies. We used to speak of flicks, even flicking out. We used to stand in line with friends in delicious anticipation to buy tickets for a movie that got a rapturous review. We used to be ushered into blinding darkness within cavernous halls of downtown gilded-age theaters to look at enormous screens. And we might go without regard to when the feature began, enter in the middle, sit through its ending, its double-bill and shorts, and only then watch the beginning of what we wanted to see. A small personal triumph occurred when, seeing a flick with friends or family, you were the first one to get up to leave announcing that "this was the place in the movie where we came in."-- |c Provided by publisher. | ||
| 588 | |a Description based on print version record and CIP data provided by publisher; resource not viewed. | ||
| 650 | 0 | |a Motion picture audiences |x Psychology. |0 http://id.loc.gov/authorities/subjects/sh2010102462. | |
| 650 | 0 | |a Motion pictures |x Psychological aspects. |0 http://id.loc.gov/authorities/subjects/sh2008108034. | |
| 650 | 7 | |a Motion picture audiences |x Psychology. |2 fast |0 (OCoLC)fst01027120. | |
| 650 | 7 | |a Motion pictures |x Psychological aspects. |2 fast |0 (OCoLC)fst01027364. | |
| 776 | 0 | 8 | |i Print version: |a Cutting, James E. |t Movies on our minds |d New York : Oxford University Press, [2021] |z 9780197567777 |w (DLC) 2021030126. |
| 856 | 4 | 0 | |u http://ebookcentral.proquest.com/lib/ucb/detail.action?docID=6683636 |z Full Text (via ProQuest) |
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| 952 | f | f | |p Can circulate |a University of Colorado Boulder |b Online |c Online |d Online |e PN1995.9.A8 C88 2021 |h Library of Congress classification |i web |n 1 |