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Film/genre

Film/genre (9회 대출)

자료유형
단행본
개인저자
Altman, Rick 1945-
단체저자명
British Film Institute.
서명 / 저자사항
Film/genre / Rick Altman.
발행사항
London :   BFI Publishing ,   1999.  
형태사항
x, 246 p. : ill. ; 25 cm.
ISBN
0851707181 0851707173 (pbk) :
서지주기
Includes bibliographical references (p. 227-236) and indexes.
일반주제명
Film genres.
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008 990329s1999 enka b 001 0 eng c
015 ▼a GB98-V4464
020 ▼a 0851707181
020 ▼a 0851707173 (pbk) : ▼c ?14.99
035 ▼a KRIC07815541
040 ▼a 211052 ▼c 211052 ▼d 211009
082 0 0 ▼a 791.436 ▼2 21
090 ▼a 791.436 ▼b F487
245 1 0 ▼a Film/genre / ▼c Rick Altman.
260 0 ▼a London : ▼b BFI Publishing , ▼c 1999.
300 ▼a x, 246 p. : ▼b ill. ; ▼c 25 cm.
504 ▼a Includes bibliographical references (p. 227-236) and indexes.
650 0 ▼a Film genres.
700 1 0 ▼a Altman, Rick ▼d 1945-
710 2 0 ▼a British Film Institute.

소장정보

No. 소장처 청구기호 등록번호 도서상태 반납예정일 예약 서비스
No. 1 소장처 과학도서관/Sci-Info(2층서고)/ 청구기호 791.436 F487 등록번호 121097948 도서상태 대출가능 반납예정일 예약 서비스 B M

컨텐츠정보

저자소개

RICK ALTMAN(지은이)

<한글 코렐드로우 8>

정보제공 : Aladin

목차


CONTENTS

Preface = ⅶ

1 What's at stake in the history of literary genre theory? = 1

 Classical genre theory = 1

 Neoclassical genre theory = 4

 Nineteenth­century genre theory = 5

 Twentieth­century genre theory = 7

 Ten tendencies of literary genre theory = 11

2 What is generally understood by the notion of film genre? = 13

 Genre is a useful category, because it bridges multiple concerns = 14

 Genre are defined by the film industry and recognized by the mass audience = 15

 Genres have clear, stable identities and borders = 16

 Individual films belong wholly and permanently to a single genre = 18

 Genres are transhistorical = 19

 Genres undergo predictable development = 21

 Genres are located in a particular topic, structure and corpus = 22

 Genre films share certain fundamental characteristics = 24

 Genre have either a ritual or an ideological function = 26

 Genre critics are distanced from the practice of genre = 28

3 Where do genres come from? = 30

 The musical = 31

 The Western = 34

 The biopic = 38

 Producers as critics = 44

 Joel Silver, the 'Selznick of schlock' = 46

4 Are genres stable? = 49

 Adjectives and nouns = 50

 Genre as process = 54

 Noir as adjective and noun = 60

 Genrification as process = 62

5 Are genres subject to redefinition? = 69

 Post­mortem for a phantom genre = 70

 Rebirth of a phamtom genre = 72

 Critics as producers = 77

 Selling The Creature from the Black Lagoon = 78

6 Where are genres located? = 83

 A multiplicity of locations = 84

 Genre and nation = 86

 Genre as textual structure: Semantics and syntax = 87

 Genre as institution, institution as genre = 90

 More than just a game? = 96

7 How are genres used? = 100

 A day at Walt Disney World = 101

 Majors and independents = 102

 Hollywood and Washington = 107

 Genres as good ad and bad objects = 110

 Ratings as genre = 110

 Name­brand marketing strategies = 113

 Brand­name movies = 115

 Generic discursivity = 121

8 Why are genres sometimes mixed? = 123

 Critical investments = 123

 Studio strategies = 128

 The genre­mixing game = 130

 Hollywood cocktail = 132

 Classical versus postmodern = 139

 Mixing instructions = 142

9 What role do genres play in the viewing process? = 144

 The generic crossroads = 145

 Genre films on television = 150

 Generic economy = 152

 The generic community = 156

 How spectators use genres = 164

10 What communication model is appropriate for genres? = 166

 The four­hoot call of the barred owl = 166

 Modelling generic communication = 169

 Saussure revisited = 173

 How it works in practice = 175

 A new communication model = 178

11 Have genres and genre functions changed over time? = 179

 The neoclassical nature of standard genre theory = 180

 Audience or 'audience'? = 182

 Genre in the age of remote consumption = 184

 Pseudo­memorials = 188

 The passed­along song = 190

 Sports, stars and advertising = 192

 Genre in the new millennium = 193

12 What can genres teach us about nations? = 195

 Hegel's newspaper = 196

 Regenrigying the national anthem = 199

 The name of the father = 202

 Hyphenating the margins = 203

 Genre/nation = 205

Conclusion: A semantic/syntactic/pragmatic approach to genre = 207

 A semantic/syntactic/pragmatic approach = 208

 Reception, opposition, poaching = 211

 Planning and using cities and texts = 213

Appendix: 'A semantic/syntactic approach to film genre' = 216

Bibliography = 227

Index = 237



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