Capital and popular cinema: The dollars are coming!

Book


Vitali, V. 2016. Capital and popular cinema: The dollars are coming! Manchester Manchester University Press.
AuthorsVitali, V.
Abstract

While post-war popular cinema has traditionally been excluded from accounts of national cinemas, the last fifteen years have seen the academy’s gradual rediscovery of cult and, more, generally, popular films. Why, many years after their release, do we now deem these films worthy of study? The book situates ‘low’ film genres in their economic and culturally specific contexts (a period of unstable ‘economic miracles’ in different countries and regions) and explores the interconnections between those contexts, the immediate industrial-financial interests sustaining the films, and the films’ aesthetics. It argues that the visibility (or not) of popular genres in a nation’s account of its cinema is an indirect but demonstrable effect of the centrality (or not) of a particular kind of capital in that country’s economy. Through in-depth examination of what may at first appear as different cycles in film production and history – the Italian giallo, the Mexican horror film and Hindi horror cinema – Capital and popular cinema lays the foundations of a comparative approach to film; one capable of accounting for the whole of a national film industry’s production (‘popular’ and ‘canonic’) and applicable to the study of film genres globally.

Keywordscomparative film studies; Italian cinema; Mexican cinema; Indian cinema; film genres; horror film; giallo; modes of address; economy; aesthetics
Year2016
PublisherManchester University Press
Publication dates
PrintApr 2016
Publication process dates
Deposited15 May 2017
Place of publicationManchester
ISBN978-0-7190-9965-6
978-1-7849-9777-9
Digital Object Identifier (DOI)https://doi.org/10.7228/manchester/9780719099656.001.0001
Web address (URL)http://www.manchesteruniversitypress.co.uk/9780719099656/
Copyright holderValentina Vitali 2016
Permalink -

https://repository.uel.ac.uk/item/851v3

  • 72
    total views
  • 0
    total downloads
  • 4
    views this month
  • 0
    downloads this month

Export as

Related outputs

The Hindi Horror Film
Vitali, V. 2022. The Hindi Horror Film. in: Alkassim, S. and Foty, Z. (ed.) Global Horror Film Cognella Press.
B & C Circuit
Vitali, V. 2021. B & C Circuit. BioScope: South Asian Screen Studies.
‘But Are They All Horrid?’ On the Intermittent Use of the Gothic in Hindi Horror Cinema
Vitali, V. 2021. ‘But Are They All Horrid?’ On the Intermittent Use of the Gothic in Hindi Horror Cinema. in: Ancuta, K. and Valančiūnas, D. (ed.) South Asian Gothic: Haunted Cultures, Histories and Media Cardiff University of Wales Press.
Why a Special Issue on Women’s Cinema?
Vitali, V. 2020. Why a Special Issue on Women’s Cinema? BioScope: South Asian Screen Studies. 11 (1), pp. 7-14. https://doi.org/10.1177/0974927620935596
Contemporary Women Filmmakers in Myanmar: Reflections on a Visit in February 2019
Vitali, V. 2020. Contemporary Women Filmmakers in Myanmar: Reflections on a Visit in February 2019. BioScope: South Asian Screen Studies. 11 (1), pp. 78-91. https://doi.org/10.1177/0974927620935754
Meaning of Failed Action: Insurrection 1946
Chapman, D., Sundaram. V, Rajadhyaksha,A and Vitali, V. Meaning of Failed Action: Insurrection 1946. Mumbai, IN 17 - 26 Mar 2017
The Women’s Royal Indian Naval Service: Picturing India’s New Woman
Vitali, V. 2019. The Women’s Royal Indian Naval Service: Picturing India’s New Woman. Women's History Review. 29 (7), pp. 1114-1148. https://doi.org/10.1080/09612025.2019.1674468
Meanings of Failed Action: A Reassessment of the 1946 Royal Indian Navy Uprising
Vitali, V. 2019. Meanings of Failed Action: A Reassessment of the 1946 Royal Indian Navy Uprising. South Asia: Journal of South Asian Studies. 41 (4), pp. 763-788. https://doi.org/10.1080/00856401.2018.1523106
Variables of Transnational Authorship: Hou Hsiao-hsien and Wei Te-sheng
Vitali, V. 2017. Variables of Transnational Authorship: Hou Hsiao-hsien and Wei Te-sheng. in: Chiu, Kuei-fen, Rawnsley, Ming-yeh and Rawnsley, Gary (ed.) Taiwan Cinema: International Reception and Social Change Abingdon, Oxon and New York, NY Routledge. pp. 25-38
Michelangelo Antonioni’s Chung Kuo — Cina (1972): A Moment of ‘Explicitation’
Vitali, V. 2016. Michelangelo Antonioni’s Chung Kuo — Cina (1972): A Moment of ‘Explicitation’. in: Chan, Felicia and Willis, Andy (ed.) Chinese Cinemas: International Perspectives Abingdon, Oxon and New York, NY Routledge Taylor & Francis Group. pp. 143-158