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That Amateur Feeling: Amateurism, Pr...

Sagehorn, David William.

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That Amateur Feeling: Amateurism, Professionalism, and New Hollywood.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	That Amateur Feeling: Amateurism, Professionalism, and New Hollywood./
作者:	Sagehorn, David William.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
面頁冊數:	294 p.
附註:	Source: Dissertation Abstracts International, Volume: 78-02(E), Section: A.
Contained By:	Dissertation Abstracts International78-02A(E).
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10160619
ISBN:	9781369155266

That Amateur Feeling: Amateurism, Professionalism, and New Hollywood.
Sagehorn, David William.

That Amateur Feeling: Amateurism, Professionalism, and New Hollywood. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 294 p.

Source: Dissertation Abstracts International, Volume: 78-02(E), Section: A.

Thesis (Ph.D.)--Northwestern University, 2016.

Amateur film has often been regarded with an assumed definition built around opposition: it is believed to be unprofessional, noncommercial, and otherwise removed from mainstream entertainment and film industries. This dissertation reassesses the shape and trajectory of amateur film, and particularly argues that the amateur's relation and relevance to professional film culture is far more complex than is commonly considered. Amateur and professional film worlds have become increasingly intertwined, particularly since significant shifts were set into motion around mid-century, and their relationship has evolved to a point where the amateur cannot be fully understood when separated from its more commercialized counterpart.

ISBN: 9781369155266Subjects--Topical Terms:

2122736
Film studies.

That Amateur Feeling: Amateurism, Professionalism, and New Hollywood.
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520 $a Amateur film has often been regarded with an assumed definition built around opposition: it is believed to be unprofessional, noncommercial, and otherwise removed from mainstream entertainment and film industries. This dissertation reassesses the shape and trajectory of amateur film, and particularly argues that the amateur's relation and relevance to professional film culture is far more complex than is commonly considered. Amateur and professional film worlds have become increasingly intertwined, particularly since significant shifts were set into motion around mid-century, and their relationship has evolved to a point where the amateur cannot be fully understood when separated from its more commercialized counterpart.
520 $a Amateur film is redefined here as more than a mode of production. Instead, as amateur film has become a more public practice it has also emerged as a discursive construct, a flexible set of qualities and signifiers that has helped the term travel to unexpected contexts. This helps further underline the idea of amateur film as a matter of cultural capital, not always located in absolute characteristics or origins but rather a label frequently (and inconsistently) applied by any number of interested parties. The divide between professionals and amateurs is therefore most commonly one of competing reputations, with public regard and popular tastes playing an influential role in how we understand and label films.
520 $a This dissertation follows the professional/amateur (pro/am) relationship through two primary routes. First, I argue that amateur film culture and outsider production have taken an increased interest in Hollywood film since the late 1950s, and amateur efforts to engage with other forms and practices have resulted in continually blurred and reframed borders. Second, I examine Hollywood (as frequent signifier of "professional" film culture) and its own diverse and unpredictable ways of contending with the amateur as both a reality and shifting cultural signifier. Through historical case studies, textual analysis, and discursive analysis of film reception and filmmakers' overall careers and trajectories, this project demonstrates that the interplay between amateur and professional film is active, complex, contextual, and cannot be reduced to simple opposition.
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