'Film Cultures is thought-provoking and challenging. By opening film theory up to the many simultaneous networks of relation (that is, the cultures) of film, it asks both viewer and student to take film more seriously' - Communication Research Trends `Film Cultures weaves together insights from cultural theory and film studies to provide a complex and absorbing theoretical account of contemporary film culture. Harbord writes with authority, imagination and wit and her delicate deployment of modernist and postmodernist cultural accounts makes rewarding reading' - Christine Geraghty, Professor of Film and Television, University of Glasgow Film Cultures argues that our tastes for film connect us to social, spatial and temporal networks of exchange and meaning. Whether we view film in the multiplex, arthouse or the gallery, as cinema premiere, video hire or from a cable channel, whether we approach film as a singular object or a hypertext linked to ancillary products, our relationship to film is inhabiting a culture. Shifting the focus of film analysis from the text to paths of circulation, Film Cultures questions how film connects us to social status, and national and global affiliations.

Film Festivals: Media Events and Spaces of Flow

Film Festivals: Media Events and Spaces of Flow
Film festivals: Media events and spaces of flow

If there is one story that represents the complexity of interests, pressures and contradictions of film festivals at the dawn of a new century, it emerges out of the relocation of the Berlin Film Festival in the year 2000, as reported in the British press. In that year, the 50th anniversary of the festival and the 10th anniversary of German re-unification, the Berlin Film Festival relocated from Zoo Palast to a new site, the Potsdamerplatz, ‘surrounded by American hamburger venues and buildings that look like burst cushions’ (O'Hagan, 2000: 25). The festival site, according to reports, is caught in the process of its own construction, covered in advertising boards, largely ...

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