Title
Sure Seaters: The Emergence Of Art House Cinema (Volume 5) (Commerce And Mass Culture),Used
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Film/American StudiesAn engaging look at the development of the movie theaters that introduced American audiences to the masterpieces of world cinema.By the end of the Second World War, a growing segment of the American filmgoing public was wearying of mainstream Hollywood films and began to seek out something different. In major cities and college towns across the country, art film theaters provided a venue for alternatives to the films playing in mainstreet movie palaces: British, foreignlanguage, and independent American films, as well as documentaries and revivals of Hollywood classics. A skeptical film industry dubbed such cinemas 'sure seaters,' convinced that patrons would have no trouble finding seats there. However, with the success of art films like Rossellini's Open City and Mackendrick's Tight Little Island, the meaning of the term 'sure seater' changed and, by the end of the 1940s, reflected the frequency with which art house cinemas filled all their seats.After defining what an 'art film' was in this period, she looks at the rise of art house cinemas, their prewar predecessors, and the traditional film distribution system dominated by the Hollywood studios. She next looks at the appeal that art film theaters had for a certain audience, the efforts made by cinema owners to create an appropriately intellectual and exclusive environment, the role of film critics and censors, the expectations and attitudes of art house filmgoers, and the experience of attending art film theaters in the 1940s. By examining the development of the theaters that introduced such challenging, personal, and artistic films as The Bicycle Thief and The Red Shoes to American audiences, Wilinsky offers a more complete understanding of postwar popular culture and the often complicated relationship between art cinema and the commercial film industry that ultimately shaped both and resulted in today's vibrant film culture.Barbara Wilinsky is assistant professor in the Department of Media Arts at the University of Arizona.Translation Inquiries: University of Minnesota Press
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This warranty strictly does not cover damages that arose from negligence, misuse, wear and tear, or not in accordance with product instructions (dropping the product, etc.).
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Frequently Asked Questions
- Q: What is the main topic of 'Sure Seaters: The Emergence of Art House Cinema'? A: The book explores the development of art house cinemas in America, focusing on how these venues introduced audiences to world cinema and alternative films, particularly after World War II.
- Q: Who is the author of this book? A: The author of 'Sure Seaters' is Barbara Wilinsky, who is an assistant professor in the Department of Media Arts at the University of Arizona.
- Q: What type of content can I expect in this book? A: The book includes an analysis of the rise of art house cinemas, the audience's appeal, the role of critics, and the cultural impact of films shown in these theaters during the 1940s.
- Q: Is 'Sure Seaters' a hardcover or paperback edition? A: This book is available in paperback format.
- Q: How many pages does 'Sure Seaters' have? A: The book contains 288 pages.
- Q: When was 'Sure Seaters' published? A: The book was published on January 9, 2001.
- Q: What condition is the used book in? A: The used book is listed in very good condition.
- Q: What is the significance of the term 'sure seater' in the context of this book? A: The term 'sure seater' refers to art house cinemas that were expected to fill all their seats due to their popularity, especially as art films gained traction in the late 1940s.
- Q: Does the book discuss the relationship between art cinema and commercial films? A: Yes, the book examines the complicated relationship between art cinema and the commercial film industry, highlighting how both have influenced modern film culture.
- Q: Are there any translation inquiries mentioned for 'Sure Seaters'? A: Yes, translation inquiries for the book should be directed to the University of Minnesota Press.