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There is now no shortage of media for us to consume, from streaming
services and video-on-demand to social media and everything else
besides. This has changed the way media scholars think about the
production and reception of media. Missing from these
conversations, though, is the maker: in particular, the maker who
has the power to produce media in their pocket. How might one craft
a personal media-making practice that is thoughtful and considerate
of the tools and materials at one's disposal? This is the core
question of this original new book. Exploring a number of
media-making tools and processes like drones and vlogging, as well
as thinking through time, editing, sound and the stream, Binns
looks out over the current media landscape in order to understand
his own media practice. The result is a personal journey through
media theory, history and technology, furnished with practical
exercises for teachers, students, professionals and enthusiasts: a
unique combination of theory and practice written in a highly
personal and personable style that is engaging and refreshing. This
book will enable readers to understand how a personal creative
practice might unlock deeper thinking about media and its place in
the world. The primary readership will be among academics,
researchers and students in the creative arts, as well as
practitioners of creative arts including sound designers,
cinematographers and social media content producers. Designed for
classroom use, this will be of particular importance for
undergraduate students of film production, and may also be of
interest to students at MA level, particularly on the growing
number of courses that specifically offer a blend of theory and
practice. The highly accessible writing style may also mean that it
can be taken up for high school courses on film and production. It
will also be of interest to academics delivering these courses, and
to researchers and scholars of new media and digital cinema.
Considering selected films representing three periods in history -
World Wars I and II and their interim, the Vietnam War, and the
major conflicts in the Middle East - The Hollywood War Film
reflects on Hollywood's representations of war and conflict, in
order to map some cinematic discourses therein. This results in an
understanding of the Hollywood genre not just as a categorising
tool, but rather as a dynamic, inscriptive, iterative cultural
phenomenon. Broadly, the thesis of the book is twofold: Firstly,
that there are commonalities in Hollywood films representing
distinct conflicts and eras, and that recent war films more closely
echo early war films in terms of their nationalistic and idealistic
perspectives. Secondly, the work proposes a reconfiguring of genre
as less concrete and classificatory, and more dynamic and
iterative. In doing so, The Hollywood War Film analyses some of the
most important war films from the past century, including All Quiet
on the Western Front (1930), Full Metal Jacket (1987) and The Hurt
Locker (2009).
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