By Dr Janet Harbord
'Film Cultures is thought-provoking and difficult. by means of establishing movie idea as much as the various simultaneous networks of relation (that is, the cultures) of movie, it asks either viewer and pupil to take movie extra heavily' - conversation examine traits `Film Cultures weaves jointly insights from cultural concept and picture reports to supply a fancy and soaking up theoretical account of up to date movie tradition. Harbord writes with authority, mind's eye and wit and her gentle deployment of modernist and postmodernist cultural money owed makes profitable interpreting' - Christine Geraghty, Professor of movie and tv, collage of Glasgow movie Cultures argues that our tastes for movie attach us to social, spatial and temporal networks of alternate and that means. no matter if we view movie within the multiplex, arthouse or the gallery, as cinema most excellent, video rent or from a cable channel, even if we method movie as a unique item or a hypertext associated with ancillary items, our dating to movie is inhabiting a tradition. transferring the point of interest of movie research from the textual content to paths of circulate, movie Cultures questions how movie connects us to social prestige, and nationwide and international affiliations.
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123–44). 12 See Jan Campbell, The Embodied Gaze (forthcoming, Polity Press) for a further development of the bodily relationship to the cinematic image. 13 See Zygmunt Bauman for a reading of the Holocaust as the ‘rational’ conclusion to industrialization (Bauman, 1989). 14 The different fates of Kracauer and Benjamin are flagged up by Miriam Hansen in her introduction to Theory of Film. She relates the story of a meeting between the two writers in the midst of the political catastrophe for the two Jewish men: ‘Soma Morgenstern, novelist and former Vienna correspondent of the Frankfurter Zeitung, describes how he and Benjamin, on their way to the prefecture, ran into Kracauer, seated in front of a cafe, scribbling eagerly.
The LCC refuse on this occasion, and again in 1930 for an application to exhibit Eisenstein’s Battleship Potemkin. The report comments that the decision was ‘actuated by class’ (Bond, 1930, 1998: 301). What emerges is differential treatment of the Film Society, whose members paid 25 shillings to join, and other societies (such as the obviously working class Workers’ Film Society) which charged a shilling. The account poignantly captures the contradictions of the licensing criteria, ‘any member of the general public can join these latter societies.
BREAKING WITH THE AURA? 10 At the time that Benjamin and Kracauer both struggled over the role of culture, Alfred Rosenberg, a leading spokesman on the subject in Germany, produced Der Mythus des 20. Jahrhunderts (1930). Where Benjamin and Kracauer were responding to the democratizing potential of the mixity of the city, the metropolis figured in Rosenberg’s work as a condition of ‘mongrel art’, the forms of expressionism and impressionism that constituted modern art: ‘The metropolis began its raceannihilating work.