Film Theory and Contemporary Hollywood Movies
Film theory no longer gets top billing or plays a starring role in film studies today, as critics proclaim that theory is dead and we are living in a post-theory moment. While theory may be out of the limelight, it remains an essential key to understanding the full complexity of cinema, one that should not be so easily discounted or discarded.
In this volume, contributors explore recent popular movies through the lens of film theory, beginning with industrial-economic analysis before moving into a predominately aesthetic and interpretive framework. The Hollywood films discussed cover a wide range from 300 to Fifty First Dates, from Brokeback Mountain to Lord of the Rings, from Spider-Man 3 to Fahrenheit 9/11, from Saw to Raiders of the Lost Ark, and much more. Individual essays consider such topics as the rules that govern new blockbuster franchises, the ‘posthumanist realism’ of digital cinema, video game adaptations, increasingly restricted stylistic norms, the spatial stories of social networks like YouTube, the mainstreaming of queer culture, and the cognitive paradox behind enjoyable viewing of traumatic events onscreen.
With its cast of international film scholars, Film Theory and Contemporary Hollywood Movies demonstrates the remarkable contributions theory can offer to film studies and moviegoers alike.
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6.1 Historical survey of Average Shot Length (ASL) in American commercial
cinema 1940–1999 6.2 The proportions of shots of different scale (or closeness)
6.3 Average Shot Length of American films released between 1982 and 1987 ...
The DVD revenues for these four Disney releases alone totaled $312 million. The
substantial returns from their TV and DVD pipelines have induced the studios to
treat theatrical release as a “loss leader” in the commercial life span of their ...
Films produced by the conglomerate-owned studios are assured of domestic
theatrical release and an attendant marketing campaign, and they are assured of
access to subsequent markets as well. Most of the 300–400 independent films
The average domestic box-office gross per release for the six major studios was
$52.5 million, although averages mean relatively little in a sector that relies so
heavily on “tentpole” hits—i.e., the top two or three runaway hits that generate
Magnolia, and Roadside Attractions, were far less successful; in fact three-
quarters of their releases (80 of 108) failed to return even $250,000 at the box
office. A few independents operated successfully in small but relatively secure