Reinventing Cinema: Movies in the Age of Media Convergence

Notes

1 8 1 Notes I N T R O D U C T I O N 1. Steve Bryant, “Sicko Leak Benefits Moore,” NewTeeVee, June 19, 2007, . 2. Quoted in ibid. 3. David Poland provided the most thorough analysis of the leak of Sicko to YouTube. See Poland, “Sicko Piracy Updated,” Hot Blog, June 18, 2007, . See also Gregg Goldstein, “Michael Moore’s ‘Sicko’ Pirated, on YouTube,” New Zealand Herald, June 19, 2007, . 4. Anne Thompson, “Frustrated Indies Seek Web Distib’n,” Variety, February 15, 2008, . 5. Wheeler Winston Dixon, “Vanishing Point: The Last Days of Film,” Senses of Cinema 43 (2007), . 6. Barbara Klinger, Beyond the Multiplex: Cinema, New Technologies, and the Home (Berkeley: University of California Press, 2006), 195. 7. Charles R. Acland, Screen Traffic: Movies, Multiplexes, and Global Culture (Durham, N.C.: Duke University Press, 2003), 57. 8. See, for example, D. N. Rodowick, The Virtual Life of Film (Cambridge, Mass.: Harvard University Press, 2007). 9. Catherine Russell, “New Media and Film History: Walter Benjamin and the Awakening of Cinema,” Cinema Journal 43.3 (Spring 2004), 83. 10. See, for example, William Boddy, “A Century of Electronic Cinema,” Screen 49.2 (Summer 2008), 144. 11. Lisa Gitelman, Always Already New: Media, History, and the Data of Culture (Cambridge, Mass.: MIT Press, 2006), 7. 12. Amanda D. Lotz, The Television Will Be Revolutionized (New York: New York University Press, 2007), 29. 13. See, for example, John Belton, “Digital Cinema: A False Revolution,” October no. 100 (Spring 2002), 99–114. 14. Acland, Screen Traffic, 221. 1 8 2 N O T E S T O PA G E S 6 – 2 0 15. Christopher Hawthorne, “The Landmark Theatre Has Your Living Room in Its Sites,” Los Angeles Times, June 1, 2007, . 16. Henry Jenkins, Convergence Culture: Where Old and New Media Collide (New York: New York University Press, 2006), 14–15. 17. One example of this is David Denby, who notoriously worried that “platform agnostic” teenagers accustomed to watching movies on video iPods and laptops would no longer value the big-screen theatrical experience. See David Denby, “Big Pictures: Hollywood Looks for a Future,” New Yorker, January 8, 2007, . 18. Chris Anderson, The Long Tail: Why the Future of Business Is Selling Less of More (New York: Hyperion, 2006), 226. 19. Dan Schiller, How to Think about Information (Urbana: University of Illinois Press, 2007), 141. 20. Yochai Benkler, The Wealth of Networks: How Social Production Transforms Markets and Freedom (New Haven: Yale University Press, 2006), 34. 21. Ibid. 22. Klinger, Beyond the Multiplex, 13. 23. Boddy, “A Century of Electronic Cinema,” 145. 24. Ibid., 148–50. 25. Godfrey Cheshire, “The Death of Film/The Decay of Cinema,” New York Press, August 26, 1999, . 26. Brian Winston, Media, Technology and Society, A History: From the Telegraph to the Internet (London: Routledge, 1998), 2. 27. Winston, Media Technology, and Society, 11–12. 28. Lotz, The Television Will Be Revolutionized, 20. 29. Michele Pierson, Special Effects: Still in Search of Wonder (New York: Columbia University Press, 2002), 53. 30. Claudia Springer, “Psycho-Cybernetics in Films of the 1990s,” in Alien Zone II, ed. Annette Kuhn (London: verso, 1999), 203–220. 31. Anderson, The Long Tail, 3. C H A P T E R 1 : T H E R I S E O F T H E M O V I E G E E K 1. See, for example, Caetlin Benson-Allott, “Before You Die, You See The Ring,” Jump Cut 49 (Spring 2007). See also Chuck Tryon, “Video from the Void: Video Spectatorship, Domestic Movie Cultures, and Contemporary Horror Film,” Journal of Film and Video, forthcoming. 2. Barbara Klinger, Beyond the Multiplex: Cinema, New Technologies, and the Home (Berkeley: University of California Press, 2006). 3. Elvis Mitchell, “Everyone’s a Film Geek Now,” New York Times, August 17, 2003, . 4. Michele Pierson, Special Effects: Still in Search of Wonder (New York: Columbia University Press, 2002), 53. 5. Toby Miller, Cultural Citizenship: Cosmopolitanism, Consumerism, and Television in a Neoliberal Age (Philadelphia: Temple University Press, 2007), 7. 6. Toby Miller, Nitin Govil, John McMurria, and Richard Maxwell, Global Hollywood (London: British Film Institute, 2001), 61. 7. John Thornton Caldwell, Production Culture: Industrial Reflexivity and Critical Practice in Film and Television (Durham, N.C.: Duke University Press, 2008), 300. 8. Edward Jay Epstein, The Big Picture (New York: Random, 2006), 209. 9. Motion Picture Association of America, “Entertainment Industry Market Statistics,” 2008, . 10. In fact, according to some estimates, Wal...