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      Movie Blockbusters
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      Book

      Movie Blockbusters

      DOI link for Movie Blockbusters

      Movie Blockbusters book

      Movie Blockbusters

      DOI link for Movie Blockbusters

      Movie Blockbusters book

      ByJulian Stringer
      Edition 1st Edition
      First Published 2003
      eBook Published 29 August 2013
      Pub. Location London
      Imprint Routledge
      DOI https://doi.org/10.4324/9781315012919
      Pages 288
      eBook ISBN 9781315012919
      Subjects Humanities
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      Stringer, J. (2003). Movie Blockbusters (1st ed.). Routledge. https://doi.org/10.4324/9781315012919

      ABSTRACT

      Big-budget, spectacular films designed to appeal to a mass audience: is this what - or all - blockbusters are? Movie Blockbusters brings together writings from key film scholars, including Douglas Gomery, Peter Kramer, Jon Lewis and Steve Neale, to address the work of notable blockbuster auteurs such as Steven Spielberg and James Cameron, discuss key movies such as Star Wars and Titanic, and consider the context in which blockbusters are produced and consumed, including what the rise of the blockbuster says about the Hollywood film industry, how blockbusters are marketed and exhibited, and who goes to see them. The book also considers the movie scene outside Hollywood, discussing blockbusters made in Bollywood, China, South Korea, New Zealand and Argentina

      TABLE OF CONTENTS

      chapter |14 pages

      Introduction

      ByJULIAN STRINGER

      chapter |30 pages

      The New Hollywood

      ByTHOMAS SCHATZ

      part |2 pages

      PART I Industry matters

      chapter 1|14 pages

      Hollywood blockbusters: historical dimensions

      BySTEVE NEALE

      chapter 2|11 pages

      Following the money in America’s sunniest company town: some notes on the political economy of the Hollywood blockbuster

      ByJON LEWIS

      chapter 3|12 pages

      The Hollywood blockbuster: industrial analysis and practice

      ByDOUGLAS GOMERY

      chapter 4|15 pages

      The role of the auteur in the age of the blockbuster: Steven Spielberg and DreamWorks

      BySteven Spielberg and DreamWorks WARREN BUCKLAND

      part |2 pages

      PART II Exploring spectacle

      chapter 5|13 pages

      Talking about a revolution: the blockbuster as industrial advertisement

      ByMICHAEL ALLEN

      chapter 6|14 pages

      Spectacle, narrative, and the spectacular Hollywood blockbuster

      ByGEOFF KING

      chapter 7|13 pages

      “Want to take a ride?”: reflections on the blockbuster experience in Contact (1997)

      ByPETER KRÄMER

      chapter 8|12 pages

      Blockbusting sound: the case of The Fugitive

      ByGIANLUCA SERGI

      part |2 pages

      PART III Establishing cultural status

      chapter 9|12 pages

      Circulations of taste: Titanic, the Oscars, and the middlebrow

      ByGILLIAN ROBERTS

      chapter 10|11 pages

      Sex, controversy, box-office: from blockbuster to bonkbuster

      ByREBECCA FEASEY

      chapter 11|12 pages

      Star Wars in fandom, film theory, and the museum: the cultural status of the cult blockbuster

      ByMATT HILLS

      chapter 12|12 pages

      The best place to see a film: the blockbuster, the multiplex, and the contexts of consumption

      ByMARK JANCOVICH, LUCY FAIRE

      chapter 13|13 pages

      Neither one thing nor the other: blockbusters at film festivals

      ByJULIAN STRINGER

      part |2 pages

      PART IV The blockbuster in the international frame

      chapter 14|13 pages

      “What’s big about the big film?”: “de-Westernizing” the blockbuster in Korea and China

      ByCHRIS BERRY

      chapter 15|12 pages

      Once Were Warriors: New Zealand’s first indigenous blockbuster

      ByKIRSTEN MOANA THOMPSON

      chapter 16|13 pages

      Television for the big screen: how Comodines became Argentina’s first blockbuster phenomenon

      ByTAMARA L . FALICOV

      chapter 17|14 pages

      Locating Bollywood: notes on the Hindi blockbuster, 1975 to the present

      ByANDREW WILLIS
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