000 04312nam a22005655i 4500
001 196601
003 IT-RoAPU
005 20221214232931.0
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008 220629t20222011stk fo d z eng d
020 _a9780748638246
_qprint
020 _a9780748647040
_qPDF
024 7 _a10.1515/9780748647040
_2doi
035 _a(DE-B1597)9780748647040
035 _a(DE-B1597)614306
035 _a(OCoLC)1302165615
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aPER004000
_2bisacsh
082 0 4 _a791.43658
_223
084 _aonline - DeGruyter
100 1 _aMonk, Claire
_eautore
245 1 0 _aHeritage Film Audiences :
_bPeriod Films and Contemporary Audiences in the UK /
_cClaire Monk.
264 1 _aEdinburgh :
_bEdinburgh University Press,
_c[2022]
264 4 _c©2011
300 _a1 online resource (248 p.) :
_b11 B/W tables
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tList of Appendices --
_tAcknowledgements --
_tIntroduction --
_t1 The Heritage Film Debate: From Textual Critique to Audience --
_t2 The Heritage Audience Survey: Methodology and Issues --
_t3 Demographics and Identities: A Portrait of the Survey Respondents --
_t4 Respondents’ Film Viewing Habit(u)s --
_t5 Patterns of Film Taste: Period and Non- Period Films --
_t6 Audience Pleasures, Attitudes and Perspectives 1: Visual Pleasure and ‘Authenticity’, Engagement and Escape --
_t7 Audience Pleasures, Attitudes and Perspectives 2: ‘Quality’, Literary Pleasures, Adaptation and Cultural Value --
_t8 Conclusions: Period Film Audiences, the Heritage Film Debate and Audience Studies --
_tAppendices --
_tSelective Filmography --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aThe concept of 'heritage cinema' is now firmly established as an influential - as well as much-debated and contested - critical framework for the discussion of period or historical representation in film, most prominently with reference to British heritage and 'post-heritage' film successes since the 1980s, but also to comparable examples from Europe, North America and beyond. These successes have ranged from Merchant Ivory's A Room with a View, Maurice, Howards End and The Remains of the Day, via Jane Austen adaptations such as Ang Lee's Sense and Sensibility to post-heritage adaptations such as Sally Potter's Orlando. Yet the very idea of the heritage film has rested on untested assumptions about its audiences.This book breaks significant new ground in the scholarship on contemporary period films, and makes a distinctive new contribution to the growing field of film-audience studies, by presenting the first empirically based study of the audiences for quality period films. Monk engages directly with two highly contrasting sections of these audiences, surveyed in the UK in the late 1990s, to explore their identities, their wider patterns of film taste, and above all their attitudes and pleasures - in relation to the period films they enjoy, and on issues central to debates around the heritage film, literary adaptation and cultural value - with illuminating and unpredicted results.
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 29. Jun 2022)
650 0 _aHistorical films
_xHistory and criticism.
650 0 _aHistorical films
_xPublic opinion
_xGreat Britain.
650 0 _aHistorical films
_zGreat Britain
_xPublic opinion.
650 0 _aMotion picture audiences.
650 0 _aPublic opinion
_xGreat Britain.
650 0 _aPublic opinion
_zGreat Britain.
650 4 _aFilm, Media & Cultural Studies.
650 7 _aPERFORMING ARTS / Film & Video / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9780748647040
856 4 0 _uhttps://www.degruyter.com/isbn/9780748647040
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780748647040/original
942 _cEB
999 _c196601
_d196601