000 03124nam a22005055i 4500
001 184029
003 IT-RoAPU
005 20221214232105.0
006 m|||||o||d||||||||
007 cr || ||||||||
008 220302t20172017nyu fo d z eng d
020 _a9780231180375
_qprint
020 _a9780231542692
_qPDF
024 7 _a10.7312/bare18037
_2doi
035 _a(DE-B1597)9780231542692
035 _a(DE-B1597)493827
035 _a(OCoLC)1023533002
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aPER004030
_2bisacsh
082 0 4 _a791.43653
_223
084 _aonline - DeGruyter
100 1 _aBarefoot, Guy
_eautore
245 1 0 _aTrash Cinema :
_bThe Lure of the Low /
_cGuy Barefoot.
264 1 _aNew York, NY :
_bColumbia University Press,
_c[2017]
264 4 _c©2017
300 _a1 online resource :
_b16 b&w illustrations
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aShort Cuts
505 0 0 _tFrontmatter --
_tCONTENTS --
_tACKNOWLEDGEMENTS --
_t1. DEFINITIONS AND DEBATES --
_t2. BEFORE THE 1960S: FROM B TO Z --
_t3. TRASH AESTHETICS --
_t4. THE CULT OF TRASH --
_t5. FROM FLASH GORDON TO BAYTEKIN --
_tSELECT FILMOGRAPHY --
_tBIBLIOGRAPHY --
_tINDEX
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aThis volume explores the lower reaches of cinema and its paradoxical appeal. It looks at films from the B-movies of the 1930s to the mockbusters of today, and from the New York underground to the genre variations of Turkey's Yesilçam studios (and their YouTube afterlife). Critically examining the reasons for studying, denigrating, or celebrating the detritus of film history, it also considers the place of a trash aesthetic within and beyond 1960s American avant-garde and looks at the cult of trash in the fanzines of the 1980s. It draws on debates about cult, paracinema, and camp, arguing that trash cinema exists in relation to these but brings with it a particular history that includes the ordinary as well as the strange. Trash Cinema places these debates, and the strand of self-proclaimed low culture that emerged in the second half of the twentieth century, within a historical and international perspective. It focuses on American cinema history but addresses Eurotrash reception as well as the related field of garbology, examining trash cinema as a distinct but fluid category.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)
650 7 _aPERFORMING ARTS / Film & Video / History & Criticism.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7312/bare18037
856 4 0 _uhttps://www.degruyter.com/isbn/9780231542692
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780231542692/original
942 _cEB
999 _c184029
_d184029