Cahiers du Cinéma: From Mao to New Media (1981–2003)
-д хадгалсан:
| -д хэвлэсэн: | ProQuest Dissertations and Theses (2025) |
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| Үндсэн зохиолч: | |
| Хэвлэсэн: |
ProQuest Dissertations & Theses
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| Нөхцлүүд: | |
| Онлайн хандалт: | Citation/Abstract Full Text - PDF |
| Шошгууд: |
Шошго байхгүй, Энэхүү баримтыг шошголох эхний хүн болох!
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MARC
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| 245 | 1 | |a <em>Cahiers du Cinéma</em>: From Mao to New Media (1981–2003) | |
| 260 | |b ProQuest Dissertations & Theses |c 2025 | ||
| 513 | |a Dissertation/Thesis | ||
| 520 | 3 | |a Cahiers du cinéma, the prestigious French film journal founded in 1951, is a valuable historical resource as it maintained a high standard of film analysis and coverage of world cinema. Cahiers represents a microcosm on what it means to write, think about, and experience cinema and the audio-visual sphere. The journal’s understudied years from 1981 to 2003 provides a fascinating archive for the reception study of cinema in this defining period where the medium was changing in conjunction with the rise of megaplexes, network broadcasters, international coproductions, home computers, and the Internet. The study of Cahiers during this period examines how their classical cinephilia combined with their radicalism in the 1970s adapted to a contemporary cinema and television culture. Benefiting from first-hand interviews with the five editor-in-chiefs during these years—Serge Toubiana, Thierry Jousse, Antoine de Baecque, Charles Tesson, and Jean-Marc Lalanne—, along with many other contributors, this dissertation’s history of Cahiers brings together insightful observations by participants, close readings of texts, general context, and personal analysis. It argues the journal’s shifting editorial projects reflects the preoccupations of its editors-in-chief with respect to broader intellectual and cultural forces, and new trends in cinema. These aesthetic debates include the romanesque and mannerist films, the “death of cinema” and pop relationship to films, the centennial of cinema, transversal, queer and karaoke cinema, sports television, and video games. These years help to understand a shifting definition of cinema and how it became a social, economic, political, and technological instrument spread across an expanding audio-visual sphere. The spectator’s experience and relationship to technology changed with the creation of these new audio-visual forms. I maintain that Cahiers, with its illustrious past, found a renewed relevancy in the contemporary moment throughout these challenges. This dissertation builds upon previous Cahiers scholarship of its first three decades to show that the history and achievements of the journal for the following period are equally as rich and intellectually stimulating. | |
| 653 | |a Film studies | ||
| 653 | |a Fine arts | ||
| 653 | |a Art history | ||
| 653 | |a Art criticism | ||
| 653 | |a Cinematography | ||
| 773 | 0 | |t ProQuest Dissertations and Theses |g (2025) | |
| 786 | 0 | |d ProQuest |t ProQuest Dissertations & Theses Global | |
| 856 | 4 | 1 | |3 Citation/Abstract |u https://www.proquest.com/docview/3234780253/abstract/embedded/H09TXR3UUZB2ISDL?source=fedsrch |
| 856 | 4 | 0 | |3 Full Text - PDF |u https://www.proquest.com/docview/3234780253/fulltextPDF/embedded/H09TXR3UUZB2ISDL?source=fedsrch |