'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.

Aesthetic Encounters

Aesthetic Encounters
Aesthetic encounters

It might be argued that a significant absence of this argument is the subject of aesthetics; that is, aesthetics both as a discourse describing or evaluating textual features and as a theory of the subject's relation to aesthetics. This is in part a deliberate absence in an attempt to deflect critical attention momentarily away from particular texts and specific audiences to consider the circulation of film as the construction of cultures. Our access to film is situated, I have argued, in networks of time (release windows, festival circuits) and space (diverse exhibitionary sites, home view), which connect us to particular discursive practices of film culture and diverse histories of cultural value. This failure to address aesthetics, should it be read as such, ...

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