Text

E-book Ecocinema Theory and Practice 2

---

Penilaian

---

Struggles over naming our epoch of climate change – Anthropocene? Capitalocene? – are symptomatic of the growing recognition that ecology and economy can no longer be separated: that indeed, they have always been impli-cated in one another. For flm studies, this recognition necessitates adding to early ecocritical concerns with what flm does, a renewed inquiry into how it works, what it is made of, and who pays for it. That “who”, in the context of ecocritique, obviously includes non-humans. Twenty-frst-century cinema and media are networked. This network is clearly the condition of distribu-tion, a branch of the industry that has historically included the management of fnite numbers of physical copies being transported to exhibition venues and returned to warehouses. Moving DCP (digital content packages) on portable hard drives is easier on projectionists’ sciatica but does not fundamentally alter the logistics of moving flms physically from place to place and the associated security required to protect intellectual property. Security remains a key con-cern in the delivery of fles via digital networks, and though the restriction on numbers of copies is relaxed, the costs of shifting them from supplier to viewer are still real, and the energy and pollution outfall is only shifted from internal combustion to electricity grids. This chapter explores the geopolitical dimen-sions of the global flm industry’s supply chain networks at a time when digi-tal production, distribution and exhibition are placing tremendous strains on human and non-human alike, asking whether human economies bound to the physical limitations of the earth can sustain our insatiable hunger for media entertainment. Some things have not changed. World War One decimated European flm industries, and the rising hegemon across the Atlantic was swift to take advan-tage. Despite the various golden ages of German and Danish silent flm, French cinema of the Popular Front and the popular success of British studios in the 1940s, Hollywood’s ascendancy in European and global markets became a fact of cultural life. Giuseppe Richeri shows how network production and distri-bution has not altered the dominance of US movie product in the European market, citing 2015 fgures indicating that even in countries with mature cin-ema industries like Germany, Italy and France, a US title is potentially more proftable than a European title (2020, 136).

---

Ketersediaan

Informasi Detail

Judul Seri

-

No. Panggil

778.53 ABA e

Penerbit

London : Taylor & Francis., 2023

Deskripsi Fisik

269 hlm

Bahasa

English

ISBN/ISSN

9781003246602

Klasifikasi

778.53

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

-

Subjek

Cinematography

Info Detail Spesifik

-

Pernyataan Tanggungjawab

-

Versi lain/terkait

Lampiran Berkas

Komentar

---

Anda harus masuk sebelum memberikan komentar