American Eccentric Cinema, by Kim Wilkins

Ever since Jeffrey Sconce discovered the “smart film”—a late twentieth/early twenty-first century sensibility surfacing in the American cinema geared toward the Gen-X indie spectator—numerous studies have appeared to further delineate the typological and taxonomical contours of this recently emergen...
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Autor*in:	Ed Cameron [verfasserIn]

Format:	E-Artikel
Sprache:	Englisch

Erschienen:	2021

Schlagwörter:	smart film gen-x indie spectator american smart cinema eccentric

Übergeordnetes Werk:	In: Alphaville: Journal of Film and Screen Media - University College Cork, 2012, (2021), 21, Seite 206-212
Übergeordnetes Werk:	year:2021 ; number:21 ; pages:206-212

Links:	Link aufrufen Link aufrufen Link aufrufen Journal toc

Katalog-ID:	DOAJ040444643

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abstract	Ever since Jeffrey Sconce discovered the “smart film”—a late twentieth/early twenty-first century sensibility surfacing in the American cinema geared toward the Gen-X indie spectator—numerous studies have appeared to further delineate the typological and taxonomical contours of this recently emergent cinematic trend that markedly functions in “counterdistinction to mainstream Hollywood” (350). Sconce’s notion of the smart film has been directly expanded by Claire Perkins in her 2012 study American Smart Cinema, where she elucidates the larger ramifications of the reception side of smart cinema in order to focus on its “affective force” (4). Revising Jim Collins’s misnomer, the “New Sincerity”, Warren Buckland has, in turn, essentially articulated a new Sincerity, one which is not severed from post-modern irony.
abstractGer	Ever since Jeffrey Sconce discovered the “smart film”—a late twentieth/early twenty-first century sensibility surfacing in the American cinema geared toward the Gen-X indie spectator—numerous studies have appeared to further delineate the typological and taxonomical contours of this recently emergent cinematic trend that markedly functions in “counterdistinction to mainstream Hollywood” (350). Sconce’s notion of the smart film has been directly expanded by Claire Perkins in her 2012 study American Smart Cinema, where she elucidates the larger ramifications of the reception side of smart cinema in order to focus on its “affective force” (4). Revising Jim Collins’s misnomer, the “New Sincerity”, Warren Buckland has, in turn, essentially articulated a new Sincerity, one which is not severed from post-modern irony.
abstract_unstemmed	Ever since Jeffrey Sconce discovered the “smart film”—a late twentieth/early twenty-first century sensibility surfacing in the American cinema geared toward the Gen-X indie spectator—numerous studies have appeared to further delineate the typological and taxonomical contours of this recently emergent cinematic trend that markedly functions in “counterdistinction to mainstream Hollywood” (350). Sconce’s notion of the smart film has been directly expanded by Claire Perkins in her 2012 study American Smart Cinema, where she elucidates the larger ramifications of the reception side of smart cinema in order to focus on its “affective force” (4). Revising Jim Collins’s misnomer, the “New Sincerity”, Warren Buckland has, in turn, essentially articulated a new Sincerity, one which is not severed from post-modern irony.
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