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Texas Film and Media Studies Ser.: Coming Attractions : Reading American Movie Trailers by Lisa Kernan (2004, Mass Market)

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About this product

Product Identifiers

PublisherUniversity of Texas Press

ISBN-100292705581

ISBN-139780292705586

eBay Product ID (ePID)30872265

Product Key Features

Number of Pages308 Pages

Publication NameComing Attractions : Reading American Movie Trailers

LanguageEnglish

SubjectFilm / General, Film / History & Criticism

Publication Year2004

TypeTextbook

Subject AreaPerforming Arts

AuthorLisa Kernan

SeriesTexas Film and Media Studies Ser.

FormatMass Market

Dimensions

Item Height0.7 in

Item Weight16 Oz

Item Length9 in

Item Width6 in

Additional Product Features

Intended AudienceScholarly & Professional

LCCN2004-007809

Dewey Edition22

ReviewsThe book raises important questions about what trailers can tell us about ourselves as filmgoers and what clues they can provide to fill gaps in film history. With the release of this book, archivists, scholars, and audiences may never again view trailers in quite the same way.

IllustratedYes

Dewey Decimal791.43/75/0973

Table Of ContentAcknowledgments Chapter 1. Trailers: A Cinema of (Coming) Attractions Chapter 2. Trailer Rhetoric Chapter 3. The Classical Era: The "Mythic Universal American" Chapter 4. The Transitional Era: Chasing the Elusive Audience Chapter 5. The Contemporary Era: The Global Family Audience Chapter 6. Conclusion. The Cinema Is Dead: Long Live the Cinema of (Coming) Attractions Filmography of Trailers Viewed Notes Selected Bibliography Index

SynopsisStarting from the premise that movie trailers can be considered a film genre, this pioneering book explores the genre?s conventions and offers a primer for reading the rhetoric of movie trailers., Movie trailers--those previews of coming attractions before the start of a feature film--are routinely praised and reviled by moviegoers and film critics alike: "They give away too much of the movie." "They're better than the films." "They only show the spectacular parts." "They lie." "They're the best part of going to the movies." But whether you love them or hate them, trailers always serve their purpose of offering free samples of a film to influence moviegoing decision-making. Indeed, with their inclusion on videotapes, DVDs, and on the Internet, trailers are more widely seen and influential now than at any time in their history. Starting from the premise that movie trailers can be considered a film genre, this pioneering book explores the genre's conventions and offers a primer for reading the rhetoric of movie trailers. Lisa Kernan identifies three principal rhetorical strategies that structure trailers: appeals to audience interest in film genres, stories, and/or stars. She also analyzes the trailers for twenty-seven popular Hollywood films from the classical, transitional, and contemporary eras, exploring what the rhetorical appeals within these trailers reveal about Hollywood's changing conceptions of the moviegoing audience. Kernan argues that movie trailers constitute a long-standing hybrid of advertising and cinema and, as such, are precursors to today's heavily commercialized cultural forms in which art and marketing become increasingly indistinguishable., Movie trailers-those previews of coming attractions before the start of a feature film-are routinely praised and reviled by moviegoers and film critics alike: "They give away too much of the movie." "They're better than the films." "They only show the spectacular parts." "They lie." "They're the best part of going to the movies." But whether you love them or hate them, trailers always serve their purpose of offering free samples of a film to influence moviegoing decision-making. Indeed, with their inclusion on videotapes, DVDs, and on the Internet, trailers are more widely seen and influential now than at any time in their history. Starting from the premise that movie trailers can be considered a film genre, this pioneering book explores the genre's conventions and offers a primer for reading the rhetoric of movie trailers. Lisa Kernan identifies three principal rhetorical strategies that structure trailers: appeals to audience interest in film genres, stories, and/or stars. She also analyzes the trailers for twenty-seven popular Hollywood films from the classical, transitional, and contemporary eras, exploring what the rhetorical appeals within these trailers reveal about Hollywood's changing conceptions of the moviegoing audience. Kernan argues that movie trailers constitute a long-standing hybrid of advertising and cinema and, as such, are precursors to today's heavily commercialized cultural forms in which art and marketing become increasingly indistinguishable., Movie trailers--those previews of coming attractions before the start of a feature film--are routinely praised and reviled by moviegoers and film critics alike: "They give away too much of the movie." "They're better than the films." "They only show the spectacular parts." "They lie." "They're the best part of going to the movies." But whether you love them or hate them, trailers always serve their purpose of offering free samples of a film to influence moviegoing decision-making. Indeed, with their inclusion on videotapes, DVDs, and on the Internet, trailers are more widely seen and influential now than at any time in their history.Starting from the premise that movie trailers can be considered a film genre, this pioneering book explores the genre's conventions and offers a primer for reading the rhetoric of movie trailers. Lisa Kernan identifies three principal rhetorical strategies that structure trailers: appeals to audience interest in film genres, stories, and/or stars. She also analyzes the trailers for twenty-seven popular Hollywood films from the classic, transitional, and contemporary eras, exploring what the rhetorical appeals within these trailers reveal about Hollywood's changing conceptions of the moviegoing audience. Kernan argues that movie trailers constitute a long-standing hybrid of advertising and cinema and, as such, are precursors to today's heavily commercialized cultural forms in which art and marketing become increasingly indistinguishable.

LC Classification NumberPN1995.9.T68K47 2004