Long, Christian B.
2020-11-26T20:21:04Z
2020-11-26T20:21:04Z
2017
978-1-78320-830-2
https://www.jstor.org/stable/j.ctv9hj8kf
http://hdl.handle.net/20.500.12010/16089
Where do we mean when we say ‘Hollywood cinema’? Do we mean contemporary
suburban Los Angeles, 1970s New York, a mid-century Midwestern small
town, a Gilded Age Wild West town, a Civil War plantation, somewhere in
space, all of the above, or none of the above? Has Hollywood cinema been associated with
the same places throughout its history? What are the privileged – and invisible – places
in Hollywood cinema? Film has from its beginnings been a major part of urban – and,
increasingly, suburban – life, in theatres, nickelodeons, picture palaces, and multiplexes.
As film exhibition has migrated, have film settings migrated as well? Do box office
blockbusters, minor hits, and year-end awards lists describe the same country? Because
cinema, by virtue of its cinematographic apparatus, is always literally set somewhere, the
public spaces that it affords for placing and locating stories act as home bases for a putative
national identity, whether that space is ‘real’ like The French Connection’s (Friedkin, 1971)
New York or fantastic like Star Wars’ (Lucas, 1977) Tatooine.
308 páginas
application/pdf
eng
Intellect
Imaginary Geography
Hollywood
Cinema 1960–2000
The imaginary geography of Hollywood : cinema 1960–2000
Industria cinematográfica
Cine
Geografía en el cine
info:eu-repo/semantics/openAccess
Abierto (Texto Completo)
10.2307/j.ctv9hj8kf
http://purl.org/coar/resource_type/c_2f33
https://creativecommons.org/licenses/by-nc-nd/4.0/