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Behind the Art House: The Evolution of Art-House Distribution after World War II and the Rise of the Selling of Films as High Culture.

机译:艺术屋的背后:第二次世界大战后艺术屋分布的演变以及作为高文化的电影销售的兴起。

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摘要

This dissertation focuses on the hitherto under-examined role played by art-film distributors in the creation and development of what I call "art-film culture" in the United States from 1945 to 1962. It is based in large part on original interviews with film distributors, film critics, and exhibitors, as well as newly discovered archival material from numerous sources.;After World War II, Italian neorealism exploded on the American cultural scene, creating the first significant wave of art-houses, which led leading independent movie houses to adopt art-film policies in response to industry changes, and brought the attention of major critics to art films. This boom was facilitated by these postwar shifts in film distribution following the Paramount decrees as well as demographic charge and cold-war government import and export policies designed to assist the Hollywood film industry.;The art-house phenomenon, though confined to niche, upper-middle class taste cultures in college towns and major cities, had an impact and influence on American film culture beyond its actual audiences. The art film helped contribute to evolutions in public mores, the rise of teaching film in universities, emulations of art-house style in more mainstream American films, and a change in the way film itself was considered. Art film distributors such as Arthur Mayer and Janus Films facilitated the consecration of film as "art," to be considered on a level with other fine arts such as ballet or painting.;The evidence demonstrates that the independent art-house phenomenon had already peaked with the rise of the French new wave (such films as Breathless [1960, released in the U.S. 1961] and Jules and Jim [1962, U.S. 1962]), as major studios became more involved in the importation of foreign films. At the same time, however, the stylistic and adult-geared elements of art films were appropriated by Hollywood releases.
机译:本文着眼于迄今为止在1945年至1962年间美国艺术电影发行商在我所谓的“艺术电影文化”的创造和发展中所发挥的作用。电影发行人,影评人和放映商,以及从许多渠道获得的新发现的档案材料。;第二次世界大战后,意大利新现实主义在美国文化界发生了爆炸,掀起了第一波重要的艺术浪潮,引领着独立电影的发展公司采取了针对行业变化的艺术电影政策,并引起了主要评论家对艺术电影的关注。战后最重要的法令,电影收费和冷战政府的进出口政策旨在促进​​好莱坞电影业的发展,这些战后电影发行方面的变化促进了这种繁荣。艺术现象,尽管仅限于利基市场, -大学城和主要城市的中产阶级口味文化对美国电影文化的影响和影响超出其实际观众。艺术电影有助于推动公共道德的发展,大学教学电影的兴起,美国主流电影中对艺术风格的模仿,以及电影本身的考虑方式的变化。诸如阿瑟·梅耶(Arthur Mayer)和贾纳斯电影(Janus Films)这样的艺术电影发行人促进了电影作为“艺术”的奉献,这种奉献被认为与芭蕾舞或绘画等其他美术都处于同一水平。证据表明,独立的艺术现象已经达到顶峰。随着法国新浪潮的兴起(如Breathless [1960,于1961年在美国发行]和Jules and Jim [1962,US 1962]),大型制片厂开始更多地参与外国电影的进口。但是,与此同时,好莱坞电影也采用了艺术电影的风格和成人化元素。

著录项

  • 作者

    Robinson, Chris.;

  • 作者单位

    University of Kansas.;

  • 授予单位 University of Kansas.;
  • 学科 Film studies.;American studies.
  • 学位 Ph.D.
  • 年度 2012
  • 页码 375 p.
  • 总页数 375
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:43:16

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