001479858 000__ 11114nam\a22012135i\4500 001479858 001__ 1479858 001479858 003__ DE-B1597 001479858 005__ 20231026035114.0 001479858 006__ m\\\\\o\\d\\\\\\\\ 001479858 007__ cr\un\nnnunnun 001479858 008__ 230918t20012001nyu\\\\\o\\d\z\\\\\\eng\d 001479858 020__ $$a9780814753194 001479858 0247_ $$a10.18574/nyu/9780814753194.001.0001$$2doi 001479858 035__ $$a(DE-B1597)548556 001479858 040__ $$aDE-B1597$$beng$$cDE-B1597$$erda 001479858 0410_ $$aeng 001479858 044__ $$anyu$$cUS-NY 001479858 050_4 $$aPN1993.5.U6 E53 2001 001479858 072_7 $$aPER004000$$2bisacsh 001479858 08204 $$a791.43/0973 001479858 24504 $$aThe End Of Cinema As We Know It :$$bAmerican Film in the Nineties /$$ced. by Jon Lewis. 001479858 264_1 $$aNew York, NY : : $$bNew York University Press, $$c[2001] 001479858 264_4 $$c©2001 001479858 300__ $$a1 online resource 001479858 336__ $$atext$$btxt$$2rdacontent 001479858 337__ $$acomputer$$bc$$2rdamedia 001479858 338__ $$aonline resource$$bcr$$2rdacarrier 001479858 347__ $$atext file$$bPDF$$2rda 001479858 50500 $$tFrontmatter -- $$tContents -- $$tThe End of Cinema As We Know It and I Feel . . .: An Introduction to a Book on Nineties American Film -- $$tPART I MOVIES, MONEY, AND HISTORY -- $$t1 The Blockbuster: Everything Connects, but Not Everything Goes -- $$t2 Those Who Disagree Can Kiss Jack Valenti's Ass -- $$t3 The Hollywood History Business -- $$t4 The Man Who Wanted to Go Back -- $$tPART II THINGS AMERICAN (SORT OF) -- $$t5 "American" Cinema in the 1990s and Beyond: Whose Country's Filmmaking Is It Anyway? -- $$t6 Marketing Marginalized Cultures: The Wedding Banquet, Cultural Identities, and Independent Cinema of the 1990s -- $$t7 Hollywood Redux: All about My Mother and Gladiator -- $$t8 The Zen of Masculinity-Rituals of Heroism in The Matrix -- $$t9 Ikea Boy Fights Back: Fight Club, Consumerism, and the Political Limits of Nineties Cinema -- $$t10 The Blair Witch Project, Macbeth, and the Indeterminate End -- $$t11 Empire of the Gun: Steven Spielberg's Saving Private Ryan and American Chauvinism -- $$t12 Saving Private Ryan Too Late -- $$tPART IV PICTURES AND POLITICS -- $$t13 The Confusions of Warren Beatty -- $$t14 Movie Star Presidents -- $$t15 The Fantasy Image: Fixed and Moving -- $$t16 Men with Guns: The Story John Sayles Can't Tell -- $$t17 The End of Chicano Cinema -- $$tPART V THE END OF MASCULINITY AS WE KNOW IT -- $$t18 Being Keanu -- $$t19 Woody Allen,"the Artist," and "the Little Girl" -- $$t20 Affliction: When Paranoid Male Narratives Fail -- $$t21 The Phallus UnFetished: The End of Masculinity As We Know It in Late-1990s "Feminist" Cinema -- $$tPART VI BODIES AT REST AND IN MOTION -- $$t22 Bods and Monsters: The Return of the Bride of Frankenstein -- $$t23 Having Their Cake and Eating It Too: Fat Acceptance Films and the Production of Meaning -- $$tPART VII INDEPENDENTS -- $$t24 A Rant -- $$t25 The Case of Harmony Korine -- $$t26 Where Hollywood Fears to Tread: Autobiography and the Limits of Commercial Cinema -- $$t27 Smoke 'til You're Blue in the Face -- $$tPART VIII NOT FILMS EXACTLY -- $$t28 Pamela Anderson on the Slippery Slope -- $$t29 King Rodney: The Rodney King Video and Textual Analysis -- $$t30 Live Video -- $$tPART IX ENDGAMES -- $$t31 End of Story: The Collapse of Myth in Postmodern Narrative Film -- $$t32 Waiting for the End of the World: Christian Apocalyptic Media at the Turn of the Millennium -- $$t33 The Four Last Things: History, Technology, Hollywood, Apocalypse -- $$t34 Twenty-five Reasons Why It's All Over -- $$tContributors -- $$tIndex 001479858 506__ $$aAccess limited to authorized users. 001479858 520__ $$aAlmost half a century ago, Jean-Luc Godard famously remarked, "I await the end of cinema with optimism." Lots of us have been waiting forand wondering aboutthis prophecy ever since. The way films are made and exhibited has changed significantly. Films, some of which are not exactly "films" anymore, can now be projected in a wide variety of wayson screens in revamped high tech theaters, on big, high-resolution TVs, on little screens in minivans and laptops. But with all this new gear, all these new ways of viewing films, are we necessarily getting different, better movies? The thirty-four brief essays in The End of Cinema as We Know It attend a variety of topics, from film censorship and preservation to the changing structure and status of independent cinemafrom the continued importance of celebrity and stardom to the sudden importance of alternative video. While many of the contributors explore in detail the pictures that captured the attention of the nineties film audience, such as Jurassic Park, Eyes Wide Shut, South Park: Bigger, Longer and Uncut, The Wedding Banquet, The Matrix, Independence Day, Gods and Monsters, The Nutty Professor, and Kids, several essays consider works that fall outside the category of film as it is conventionally definedthe home "movie" of Pamela Anderson and Tommy Lee's honeymoon and the amateur video of the LAPD beating of Rodney King. Examining key films and filmmakers, the corporate players and industry trends, film styles and audio-visual technologies, the contributors to this volume spell out the end of cinema in terms of irony, cynicism and exhaustion, religious fundamentalism and fanaticism, and the decline of what we once used to call film culture. Contributors include: Paul Arthur, Wheeler Winston Dixon, Thomas Doherty, Thomas Elsaesser, Krin Gabbard, Henry Giroux, Heather Hendershot, Jan-Christopher Hook, Alexandra Juhasz, Charles Keil, Chuck Klienhans, Jon Lewis, Eric S. Mallin, Laura U. Marks, Kathleen McHugh, Pat Mellencamp, Jerry Mosher, Hamid Naficy, Chon Noriega, Dana Polan, Murray Pomerance, Hillary Radner, Ralph E. Rodriguez, R.L. Rutsky, James Schamus, Christopher Sharrett, David Shumway, Robert Sklar, Murray Smith, Marita Sturken, Imre Szeman, Frank P. Tomasulo, Maureen Turim, Justin Wyatt, and Elizabeth Young. 001479858 538__ $$aMode of access: Internet via World Wide Web. 001479858 546__ $$aIn English. 001479858 5880_ $$aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 18. Sep 2023) 001479858 650_0 $$aMotion picture industry$$zUnited States$$xHistory$$y20th century. 001479858 650_0 $$aMotion pictures$$zUnited States$$xHistory$$y20th century. 001479858 650_4 $$aPERFORMING ARTS / Film & Video / General$$2sh. 001479858 655_0 $$aElectronic books 001479858 7001_ $$aArthur, Paul, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aDixon, Wheeler Winston, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aDoherty, Thomas, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aElsaesser, Thomas, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aGabbard, Krin, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aGiroux, Henry A., $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aHendershot, Heather, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aHorak, Jan-Christopher, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aJuhasz, Alexandra, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aKeil, Charlie, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aKleinhans, Chuck, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aLewis, Jon, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aLewis, Jon, $$eeditor.$$4edt$$4http://id.loc.gov/vocabulary/relators/edt. 001479858 7001_ $$aMallin, Eric S., $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aMarks, Laura U., $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aMcHugh, Kathleen, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aMellencamp, Pat, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aMosher, Jerry, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aNaficy, Hamid, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aNoriega, Chon A., $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aPolan, Dana, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aPomerance, Murray, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aRadner, Hilary, $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aRodriguez, Ralph E., $$econtributor.$$4ctb$$4https://id.loc.gov/vocabulary/relators/ctb 001479858 7001_ $$aRutsky, R. 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