MARC Record from marc_openlibraries_sanfranciscopubliclibrary

LEADER: 04122cam a2200553 i 4500
001 ocn982091863
003 OCoLC
005 20180417110229.0
008 171003t20172017mnua b s001 0 eng
010 $a2017042185
020 $a9781517903701$q(pb : alk. paper)
020 $a151790370X$q(pb : alk. paper)
020 $a9781517903695$q(hc : alk. paper)
020 $a1517903696$q(hc : alk. paper)
035 $a(OCoLC)982091863
037 $bUniv of Minnesota Pr, C/O Chicago Distribution Center 11030 S Langley Ave, Chicago, IL, USA, 60628$nSAN 202-5280
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050 00 $aPN1995.9.D84$bR46 2017
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100 1 $aRhodes, John David,$d1969-$eauthor.
245 10 $aSpectacle of property :$bthe house in American film /$cJohn David Rhodes.
264 1 $aMinneapolis :$bUniversity of Minnesota Press,$c[2017]
264 4 $c©2017
300 $axii, 254 pages :$billustrations ;$c22 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references and index.
505 0 $aIntroduction : the house as medium -- Cinema's short-term tenancy : a materialist theory of film spectatorship -- Wrong life: bungalow aesthetics in and against Hollywood -- All too easy : the modernist house and effortless appropriation -- Between the past and the present : nostalgia and the cinema of stick and shingle style architecture -- Coda. From porch to attic : condemned to property in New Orleans.
520 8 $aMuch of our time at the movies is spent in other peoples homes. Cinema is, after all, often about everyday life. Spectacle of Property is the first book to address the question of the ubiquitous conjuncture of the moving image and its domestic architecture. Arguing that in cinema we pay to occupy spaces we cannot occupy, John David Rhodes explores how the house in cinema both structures and criticizes fantasies of property and ownership. Rhodes tells the story of the ambivalent but powerful pleasure we take in looking at private property onscreen, analyzing the security and ease the house promises along with the horrible anxieties it produces. He begins by laying out a theory of film spectatorship that proposes the concept of the spectator-tenant,with reference to films such as Gone with the Wind and The Magnificent Ambersons. The book continues with three chapters that are each occupied with a different architectural style and the films that make use of it: the bungalow, the modernist house, and the shingle style house. Rhodes considers a variety of canonical films rarely analyzed side by side, such as Psycho in relation to Grey Gardens and Meet Me in St. Louis. Among the other films discussed are Meshes of the Afternoon, Mildred Pierce, A Star Is Born, Killer of Sheep, and A Single Man. Bringing together film history, film theory, and architectural history as no book has to date, Spectacle of Property marks a new milestone in examining cinemas relationship to realism while leaving us vastly more informed about, if less at home inside, the houses we occupy at the movies.
650 0 $aDwellings in motion pictures.
650 0 $aMotion pictures$zUnited States$xHistory.
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