{"product_id":"theorizing-art-cinemas-foreign-cult-avant-garde-and-beyond-paperback-softback-9781477302057","title":"Theorizing Art Cinemas; Foreign, Cult, Avant-Garde, and Beyond (Paperback \/ softback) 9781477302057","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eTheorizing Art Cinemas\u003c\/font\u003e\u003cbr\u003e\r\n\u003cfont size=\"5\"\u003eForeign, Cult, Avant-Garde, and Beyond\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003cp\u003e\u003cfont size=\"4\"\u003eDavid Andrews (Author)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9781477302057, University of Texas Press\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003ePaperback \/ softback, published 15 November 2013\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e309 pages\u003cbr\u003e22.9 x 15.2 x 2.3 cm, 0.454 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cfont size=\"3\"\u003e\u003cdiv\u003eAndrews remains acutely attuned to both potential criticisms in his logic by addressing them head-on, while never sliding into overtly academic-speak or rhetoric that could obscure his points, which makes \u003ci\u003eTheorizing Art Cinemas\u003c\/i\u003e a thrilling revelation from front to back….Andrews provides readers not just with an intricate explanation for various art cinemas, but how such scholarship can best be performed going forward….Andrews clears up complicated, much-debated issues with relative ease.\u003c\/div\u003e (Slant) \u003cdiv\u003e…a thought-provoking amalgamation of relevant theories and an interdisciplinary perspective. This book seems bound to inspire new research, which should move beyond the usual art-cinema suspects of auteurism and the avant-garde.\u003c\/div\u003e (Film Studies)\u003c\/font\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cp\u003eThe term “art cinema” has been applied to many cinematic projects, including the \u003ci\u003efilm d’art\u003c\/i\u003e movement, the postwar avant-gardes, various Asian new waves, the New Hollywood, and American indie films, but until now no one has actually defined what “art cinema” is. Turning the traditional, highbrow notion of art cinema on its head, \u003ci\u003eTheorizing Art Cinemas\u003c\/i\u003e takes a flexible, inclusive approach that views art cinema as a predictable way of valuing movies as “art” movies-an activity that has occurred across film history and across film subcultures-rather than as a traditional genre in the sense of a distinct set of forms or a closed historical period or movement.\u003c\/p\u003e\n\u003cp\u003eDavid Andrews opens with a history of the art cinema “super-genre” from the early days of silent movies to the postwar European invasion that brought Italian Neorealism, the French New Wave, and the New German Cinema to the forefront and led to the development of auteur theory. He then discusses the mechanics of art cinema, from art houses, film festivals, and the academic discipline of film studies, to the audiences and distribution systems for art cinema as a whole. This wide-ranging approach allows Andrews to develop a theory that encompasses both the high and low ends of art cinema in all of its different aspects, including world cinema, avant-garde films, experimental films, and cult cinema. All of these art cinemas, according to Andrews, share an emphasis on quality, authorship, and anticommercialism, whether the film in question is film festival favorite or a midnight movie.\u003c\/p\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cul\u003e\n\u003cli\u003ePreface\u003c\/li\u003e\n\u003cli\u003eAcknowledgments\u003c\/li\u003e\n\u003cli\u003eIntroduction: Correcting Art Cinema’\u003cbr\u003es Partial Vision\u003c\/li\u003e\n\u003cli\u003ePart One: Art, Auteurism, and the World\u003c\/li\u003e\n\u003cli\u003eChapter One. Art as Genre as Canon: Defining “\u003cbr\u003eArt Cinema”\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eChapter Two. No Start, No End: Auteurism and the Auteur Theory\u003c\/li\u003e\n\u003cli\u003eChapter Three. From “\u003cbr\u003eForeign Films”\u003cbr\u003e to “\u003cbr\u003eWorld Cinema”\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003ePart Two: Formats and Fetishes\u003c\/li\u003e\n\u003cli\u003eChapter Four. Recovery and Legitimation in the Traditional Art Film\u003c\/li\u003e\n\u003cli\u003eChapter Five. Losing the Asterisk: A Theory of Cult-Art Cinema\u003c\/li\u003e\n\u003cli\u003eChapter Six. Revisiting “\u003cbr\u003eThe Two Avant-Gardes”\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eChapter Seven. Sucking the Mainstream: A Theory of Mainstream Art Cinema\u003c\/li\u003e\n\u003cli\u003ePart Three: Institutions and Distributions\u003c\/li\u003e\n\u003cli\u003eChapter Eight. Re-integrating Stardom ( . . . or Technology or Reception or . . . )\u003c\/li\u003e\n\u003cli\u003eChapter Nine. Art Cinema as Institution, Redux: Art Houses, Film Festivals, and Film Studies\u003c\/li\u003e\n\u003cli\u003eChapter Ten. Art Cinema, the Distribution Theory\u003c\/li\u003e\n\u003cli\u003eEpilogue. Beyond, Before Cinephilia\u003c\/li\u003e\n\u003cli\u003eNotes\u003c\/li\u003e\n\u003cli\u003eFilmography\u003c\/li\u003e\n\u003cli\u003eBibliography\u003c\/li\u003e\n\u003cli\u003eIndex\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003c\/font\u003e","brand":"University of Texas Press","offers":[{"title":"Brand New","offer_id":52681335472408,"sku":"9781477302057","price":21.56,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/freshlyprintedbooks.co.uk\/products\/theorizing-art-cinemas-foreign-cult-avant-garde-and-beyond-paperback-softback-9781477302057","provider":"Freshly Printed Books","version":"1.0","type":"link"}