By Nicholas Rombes

ISBN-10: 178279140X

ISBN-13: 9781782791409

In an period of swift transformation from analog to electronic, how will we write approximately cinema in ways in which are as clean, outstanding, and demanding because the top movies are? In 10/40/70 Nicholas Rombes proposes one daring threat: pause a movie on the 10, forty, and 70-minute mark and write concerning the frames handy, it doesn't matter what they're. this technique of constraint—by taking out selection and foreclosing on authorial intention—allows the movie itself to dictate the phrases of its research free of the tyranny of predetermined interpretation. encouraged by means of Roland Barthes’s inspiration of the “third meaning” and its specialise in the movie body as a picture that's neither a photo nor a relocating snapshot, Rombes assumes the position of photo detective, looking out the frames for clues not just concerning the movies themselves—drawn from a variety of genres and time periods—but the very stipulations in their lifestyles within the electronic age.

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Additional info for 10/40/70: Constraint as Liberation in the Era of Digital Film Theory

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That being said, it could be argued that the modern cinematic zombie film has a more sociological purpose behind it: that the dead have come back to life as some kind of unspoken punishment of the living, some punishment for the sins of modernity. “When there is no more room in Hell, the dead shall wander the Earth,” as the tagline for Romero’s 1978 film Dawn of the Dead put it. This “living corpse” tradition of the reanimated dead body has a stronger tradition within the British and northern European ballad tradition, although Lowry Wimberly, like Thompson after him, contextualized this within the ghost tradition.

They were not targeted at a ‘family audience’ in the modern sense of the term—adults accompanying children as the primary spectators—but over time they helped bring such an audience into being. qxd 22 10/3/07 12:45 PM Page 22 Chapter One a would-be cultural movie and an experiment for the Disney artists in abstract animation suggested by music. In terms of its reception, it had a strange reincarnation in the 1960s as a hippy film. Now it is being marketed as a children’s/family film” (366–67). 5.

8. Jenkins (1992) acknowledged Michel de Certeau with the idea of “poaching”: “fans become a model of the type of textual ‘poaching’ de Certeau associates with popular reading. Their activities pose important questions about the ability of media producers to constrain the creation and circulation of meanings. Fans construct their cultural and social identity through borrowing and inflecting mass culture images, articulating concerns which often go unvoiced within the dominant media” (23). qxd 10/3/07 12:51 PM Page 25 C H A P T E R T W O Based on Some Forgotten Lore: The Wicker Man, Frazer, and the Ancient Celts In searching for a method for the study of folklore and film, one of the first logical approaches would be to look at those films that appear to be based on folklore—at least in terms that a general public would understand as folklore.

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10/40/70: Constraint as Liberation in the Era of Digital Film Theory by Nicholas Rombes

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