Film history terminable and interminable: recovering the past in reception studies

Klinger, Barbara

doi:10.1093/screen/38.2.107

Cited by 69 publications

(19 citation statements)

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“…Ernest Mathijs dealt with specific reception in his work 'Bad reputations: the reception of 'trash' cinema 1 . Mathijs believes that marketing and reception contexts, both historical and topical, play a crucial role in determining the public meaning of a film text and believes that the discourse of its reception actually starts long before it is received (which can be considered the epoch's horizon of expectations (author's comment).…”

Section: Examples Of the Application Of Literary Reception Theory To mentioning

confidence: 99%

“…Talking of the industry in the context of the reception, and it is more than necessary with the film, it is impossible to bypass the categories of production and consumption that are woven into the critique of political economy of Karl Marx 1 . Besides conceptually distinguished that determine the process of reception and influence it.…”

Section: Redefining Of Film Reception Legalitymentioning

confidence: 99%

“…Mandelkov called these foils the epoch's horizons of expectations, acts expectations and expectations of the author (according to Mandelkov, 1978: 120.) 1 Introduction to the Critique of Political Economy was created in 1857 and first published in the journal Die Neue Zeit, 1903, in its unfinished form. the categories of production and consumption 1 , Marx also mentions the way of consumption which proved to be a special and new in the case of the film reception through ICT.…”

Section: Redefining Of Film Reception Legalitymentioning

confidence: 99%

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Film Reception by Means of New Media or How the Film Escaped from the Cinema

Tkalec¹,

Žigo²,

Dolinara³

2017

Eur. j. interdiscip. stud.

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The biggest change in film reception occurred in the moment when the film audience began to watch films over the Internet, or with devices that can connect to it, i.e. computers, laptops and smartphones. The paper redefined notions of contemporary audience and different horizons of expectations, and a new horizon of expectations has been established, and that is the horizon of device expectations. Also, we have redefined the conative function i.e. the empty spaces function, individual and social reception of the film, while the theory of production relations in the case of the production of art has been applied to the film industry. The paper applies to the film received through social networks requirements of all characteristics of new media, which is also a novelty in scientific thinking.

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Section: Examples Of the Application Of Literary Reception Theory To mentioning

confidence: 99%

Section: Redefining Of Film Reception Legalitymentioning

confidence: 99%

Section: Redefining Of Film Reception Legalitymentioning

confidence: 99%

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Film Reception by Means of New Media or How the Film Escaped from the Cinema

Tkalec¹,

Žigo²,

Dolinara³

2017

Eur. j. interdiscip. stud.

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“…Another perspective involves the broader historical reception, whereby it is interesting to look at how these films were received by policy makers, journalists and scholars, as well as, how they were eventually, censored. 21 This perspective, which involves the use of different kinds of methodology from the social sciences and humanities (oral history, discourse analysis, institutional archival work, . .…”

mentioning

confidence: 99%

Afterword: school documentaries, childhood and new cinema history

Biltereyst

2011

Paedagogica Historica

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This paper was written as a response to the six main articles that appear in the special issue Education in Motion: Producing Methodologies for Researching Documentary Film on Education. The afterword first tries to locate the special issue in a wider debate on the reassessment of the relationship between film, children and education. The article then considers how the usage of film as a research resource by historians of education might open up issues sometimes overlooked in mainstream film studies, particularly those spaces 'beyond' the text: the social-cultural contexts in which production, distribution, exhibition and reception of documentary films are located.Commenting on this special issue is an unexpectedly difficult task, especially for someone who does not work in the field of pedagogy or educational studies. In this afterword I would like to reflect on the contributions to this issue from a film studies perspective, which is a field that has invested so much time and energy into analysing the complexities of the film text, of cinematic style, of cinema's meaning repertoires and ideology, or in questions of defining film genres. Surprisingly perhaps, I would like to concentrate more on how this collection of stimulating articles on school documentaries or non-fiction films dealing with education in a school setting fits into recent developments and debates within the field of film studies itself. And, conversely, how these developments might inspire other scholars outside film studies, who since the "visual turn" are increasingly discovering films as historical documents and see how these might challenge their understanding of the past. 1 By focusing on a "genre" that has barely received any attention from film scholars, this special issue throws up a couple of -for historians of education probably unexpected -questions for scholars interested in the cultural and social history of the film medium. I see at least two directions in which this special issue and, by extension, the Documentary Film in Educational Research (DFER) project, strengthen recent questions in the study of cinema.

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“…6 6 This useful phrase is attributed to Dana Polan, in B. Klinger, ‘Film History Terminable and Interminable: Recovering the Past in Reception Studies’, Screen , 38/2 (1997): 109. …”

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confidence: 99%

Lost Horizon: The Social History of the Cinema Audience

Bowles

2011

History Compass

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Cinema was one of the prominent public institutions of the 20th century, and despite experiencing a slight decline in the twenty‐first, it remains a significant feature of the global cultural landscape. At its heart is the proposition that getting together with strangers in darkened public venues to watch movies together makes some kind of sense. This is clearly both a spatial and a social practice, involving decisions based on considerations of place, timing and other people. Yet the history of this changing social experience has proved difficult to accommodate within the traditional practice of film history, that has been focused on the history of films. Instead, cinema has been bracketed with history for the purposes of demonstrating that popular films make bad history; or conversely that history films are ‘celluloid evidence’ of the vanished past, that will entertain and engage history students. This essay examines the reasons why a social cinema history has been slow to develop, and charts the recent emergence of a new mode of cinema history focused on the social and spatial dimension of film distribution, exhibition, and everyday practices of cinema attendance.

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Film history terminable and interminable: recovering the past in reception studies

Cited by 69 publications

References 0 publications

Film Reception by Means of New Media or How the Film Escaped from the Cinema

Film Reception by Means of New Media or How the Film Escaped from the Cinema

Afterword: school documentaries, childhood and new cinema history

Lost Horizon: The Social History of the Cinema Audience

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