'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.


In many accounts of social and cultural change, from modernity to post-modernity, Fordist to post-Fordist production, standardization to flexible specialization, national to multinational, the film text has stood as a metonym of such transformations. From the Benjamin–Adorno debates of the 1930s, to Jameson's postulation of the retro film as a sign of historical amnesia, through to David Harvey's use of Blade Runner to represent space–time compression, film has served as an emblem of the ‘new’, of mechanical reproduction at the beginning of the twentieth century to a culture of immediacy and spectacle at the beginning of the twenty-first. Film is part of, culpable even, in the former era of commodifying social relations, and latterly in the process of scrambling spatial and temporal co-ordinates, of ...

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