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020 _a9780813576022
_qprint
020 _a9780813576046
_qPDF
024 7 _a10.36019/9780813576046
_2doi
035 _a(DE-B1597)9780813576046
035 _a(DE-B1597)526208
035 _a(OCoLC)966458340
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aPN1995.9.N67
_bS64 2016
072 7 _aPER000000
_2bisacsh
082 0 4 _a791.43/653
_223
084 _aonline - DeGruyter
100 1 _aSperb, Jason
_eautore
245 1 0 _aFlickers of Film :
_bNostalgia in the Time of Digital Cinema /
_cJason Sperb.
264 1 _aNew Brunswick, NJ :
_bRutgers University Press,
_c[2015]
264 4 _c©2015
300 _a1 online resource (208 p.) :
_b24 photographs
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tCONTENTS --
_tPREFACE --
_tACKNOWLEDGMENTS --
_tIntroduction: Self-Theorizing Nostalgia --
_t1. I’ll (Always) Be Back: Virtual Performances; or, The Cinematic Logic of Late Capitalism --
_t2. They Saw No Future: New Nostalgia Movies and Digital Exhibition --
_t3. Digital Decasia: Preserving Film, Database Histories, and the Potential Value of Reflective Nostalgia --
_t4. Going Home . . . for the First Time: Pixar Studios, Digital Animation, and the Limits of Reflective Nostalgia --
_t5. TRON Legacies: Disney and Nostalgia Blockbusters in the Age of Transmedia Storytelling --
_t6. Game (Not) Over: Video-Game Pastiche and Nostalgic Disavowals in the Postcinematic Era --
_tConclusion: On Clouds and Be Kind Rewind --
_tNotes --
_tSelected Bibliography --
_tIndex --
_tAbout the Author
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aWhether paying tribute to silent films in Hugo and The Artist or celebrating arcade games in Tron: Legacy and Wreck-It-Ralph, Hollywood suddenly seems to be experiencing a wave of intense nostalgia for outmoded technologies. To what extent is that a sincere lament for modes of artistic production that have nearly vanished in an all-digital era? And to what extent is it simply a cynical marketing ploy, built on the notion that nostalgia has always been one of Hollywood’s top-selling products? In Flickers of Film, Jason Sperb offers nuanced and unexpected answers to these questions, examining the benefits of certain types of film nostalgia, while also critiquing how Hollywood’s nostalgic representations of old technologies obscure important aspects of their histories. He interprets this affection for the prehistory and infancy of digital technologies in relation to an industry-wide anxiety about how the digital has grown to dominate Hollywood, pushing it into an uncertain creative and economic future. Yet he also suggests that Hollywood’s nostalgia for old technologies ignores the professionals who once employed them, as well as the labor opportunities that have been lost through the computerization and outsourcing of film industry jobs. Though it deals with nostalgia, Flickers of Film is strikingly cutting-edge, one of the first studies to critically examine Pixar’s role in the film industry, cinematic representations of videogames, and the economic effects of participatory culture. As he takes in everything from Terminator: Salvation to The Lego Movie, Sperb helps us see what’s distinct about this recent wave of self-aware nostalgic films—how Hollywood nostalgia today isn’t what it used to be.
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 03. Jan 2023)
650 0 _aMotion pictures
_xTechnological innovations.
650 0 _aNostalgia in motion pictures.
650 7 _aPERFORMING ARTS / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.36019/9780813576046
856 4 0 _uhttps://www.degruyter.com/isbn/9780813576046
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780813576046/original
942 _cEB
999 _c200244
_d200244