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Coming Attractions : Reading American Movie Trailers / / Lisa Kernan.

By: Material type: TextTextSeries: Texas Film and Media Studies SeriesPublisher: Austin : : University of Texas Press, [2009]Copyright date: ©2004Description: 1 online resource (308 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780292797253
Subject(s): DDC classification:
  • 791.43/75/0973 22
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Chapter 1 Trailers: A Cinema of (Coming) Attractions -- Chapter 2 Trailer Rhetoric -- Chapter 3 The Classical Era: The "Mythic Universal American" -- Chapter 4 The Transitional Era: Chasing the Elusive Audience -- Chapter 5 The Contemporary Era: The Global Family Audience -- Chapter 6 Conclusion. The Cinema Is Dead: Long Live the Cinema of (Coming) Attractions -- Filmography of Trailers Viewed -- Notes -- Selected Bibliography -- Index
Summary: Movie trailers-those previews of coming attractions before the start of a feature film-are routinely praised and reviled by moviegoers and film critics alike: "They give away too much of the movie." "They're better than the films." "They only show the spectacular parts." "They lie." "They're the best part of going to the movies." But whether you love them or hate them, trailers always serve their purpose of offering free samples of a film to influence moviegoing decision-making. Indeed, with their inclusion on videotapes, DVDs, and on the Internet, trailers are more widely seen and influential now than at any time in their history. Starting from the premise that movie trailers can be considered a film genre, this pioneering book explores the genre's conventions and offers a primer for reading the rhetoric of movie trailers. Lisa Kernan identifies three principal rhetorical strategies that structure trailers: appeals to audience interest in film genres, stories, and/or stars. She also analyzes the trailers for twenty-seven popular Hollywood films from the classical, transitional, and contemporary eras, exploring what the rhetorical appeals within these trailers reveal about Hollywood's changing conceptions of the moviegoing audience. Kernan argues that movie trailers constitute a long-standing hybrid of advertising and cinema and, as such, are precursors to today's heavily commercialized cultural forms in which art and marketing become increasingly indistinguishable.
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Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780292797253

Frontmatter -- Contents -- Acknowledgments -- Chapter 1 Trailers: A Cinema of (Coming) Attractions -- Chapter 2 Trailer Rhetoric -- Chapter 3 The Classical Era: The "Mythic Universal American" -- Chapter 4 The Transitional Era: Chasing the Elusive Audience -- Chapter 5 The Contemporary Era: The Global Family Audience -- Chapter 6 Conclusion. The Cinema Is Dead: Long Live the Cinema of (Coming) Attractions -- Filmography of Trailers Viewed -- Notes -- Selected Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Movie trailers-those previews of coming attractions before the start of a feature film-are routinely praised and reviled by moviegoers and film critics alike: "They give away too much of the movie." "They're better than the films." "They only show the spectacular parts." "They lie." "They're the best part of going to the movies." But whether you love them or hate them, trailers always serve their purpose of offering free samples of a film to influence moviegoing decision-making. Indeed, with their inclusion on videotapes, DVDs, and on the Internet, trailers are more widely seen and influential now than at any time in their history. Starting from the premise that movie trailers can be considered a film genre, this pioneering book explores the genre's conventions and offers a primer for reading the rhetoric of movie trailers. Lisa Kernan identifies three principal rhetorical strategies that structure trailers: appeals to audience interest in film genres, stories, and/or stars. She also analyzes the trailers for twenty-seven popular Hollywood films from the classical, transitional, and contemporary eras, exploring what the rhetorical appeals within these trailers reveal about Hollywood's changing conceptions of the moviegoing audience. Kernan argues that movie trailers constitute a long-standing hybrid of advertising and cinema and, as such, are precursors to today's heavily commercialized cultural forms in which art and marketing become increasingly indistinguishable.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 18. Sep 2023)