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Notice bibliographique
Résumé
SCREEN TRAFFIC: MOVIES, MULTIPLEXES, AND GLOBAL CULTURE Charles Acland. Durham: Duke University Press, 2003, 352 pp. Screen Traffic: Movies, Multiplexes, and poses a seemingly innocuous question: why is it so difficult to determine Canadian box-office results? Throughout this inquiry, Acland flushes out an array of critical issues, ranging from studies to globalization. In order to negotiate these timely topics, Acland traces rise of multiplex, offering insightful into corporate and of film industries over past decade. Included with this research are several photographs, seven appendices, and more than twenty tables that provide a wealth of information that should be useful to academics in both their scholarly work and their teaching. The first section of Screen Traffic, Theorizing Contemporary Cinemagoing, consists of three chapters: Global Audiences and Current Cinema, Traveling Cultures, Mutating Commodities, and Matinees, Summers, and Practice of Cinemagoing. In this section, Acland suavely juggles several competing models of analysis, piecing together a methodology for analyzing considerable amount of data he has compiled. This data includes institutional organization for international consumption of film, as well as statistical information on structures of film distribution and projection. In making sense of an impressive compendium of facts, he traverses somewhat orthodox routes of critique. For example, he offers Gramsci's notion of hegemony in order to produce a historical portrait of dynamic relations between dominant and subordinate forms and practices (17). From Gramsci, Acland extracts one of his key terms, conjucturalism, which refers to cultural and social analysis needing to confront precise in which those forces have effects and are experienced, even as themselves are in process of being made (15). The notion of conjuncturalism helps to fix horizon of discourses that Acland tracks in second half of Screen Traffic, such as industry magazines, exhibitor's conventions, and theater advertisements. Conjuncturalism receives further attention in second chapter, Traveling Cultures, Mutuating Commodities, which poses global problem of intemationalness of film as a problem of film theory, because to theorize film is to theorize amidst the mobility of texts and contexts (43). Acland's approach to protean nature of culture, particularly across nations and communities, is based on Appadurai's theorization of global structures through their intercontextuality (43). For example, when Simon During discusses Schwarzenegger as coming out of a tradition of body builders and circus-sideshow characters, he depends on a stable set of tropes. Acland and Appadurai, however, would suggest that this is only half story; necessary for understanding these tropes amidst different realities are lacking. Using late-twentieth-century theories of spatiality, such as Michel de Certeau's notion of is practiced place (56), Acland in Screen Traffic focuses on realities of spatial practice. The spaces excavated throughout book are multiplexes, theater chains, theme-oriented cinemas, drive-ins, television, and amusement parks, places where film is an event set within a specific situation. Acland is careful not to collapse economics of film industry into practice of cinemagoing, but cautiously analyzes what is at stake when considering economic structures, leadership at sites of production, distribution, and exhibition, and experience of watching films. After spending three chapters methodically laying groundwork for his theoretical mode, Acland expands next two thirds of book, looking into ways in which space of film is created. …
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle