Rebecca Prime
Datos Biográficos
| ID | 9501393 |
|---|---|
| NOMBRE | Rebecca Prime |
| NOMBRES | Rebecca |
| APELLIDO | Prime |
| FIRMA | PRIME R |
| VERIFICADO | No |
| TOTAL DE OBRAS | 6 |
| TOTAL DE CITAS | 0 |
| OBRAS COMO AUTOR | 6 |
| OBRAS COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2018 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2024 |
| ÍNDICE H | 0 |
The Human Voice
Because of the particularities of Film Quarterly’s production schedule, this editorial is being written during the closing days of 2023, a time of EOY reflections and New Year’s resolutions. Even for an inveterate optimist, it’s impossible not to feel concerned by what 2024 may have in store. The sense of living through history is hard to ignore, if equally hard to understand.My inclination is to look to the past, my thoughts bending—melodramatic…
An Expansive View
I recently received the thoughtful gift of a copy of Film Quarterly from 1977. The issue is slim—only sixty-six pages—and its small quarto size—roughly seven by ten inches—compact. The cover image, of Jeanne Dielman doing dishes in her housecoat, her back to the audience, fills the entire cover apart from the Film Quarterly logo, discreetly placed in the top right corner. In its format and presentation, Film Quarterly was very much of its time, s…
Transitions
This editorial marks my fond farewell to Film Quarterly. After six years at the journal and one year as editor, I am stepping down from the top of the masthead. Moving up is the journal’s longtime contributing editor J. M. Tyree. Josh is an associate professor in the Cinema Program at Virginia Commonwealth University and is the author or coauthor of many works of cinephilic fiction and nonfiction. His contributions to the BFI Film Classics series…
Stepping Up, and Out
The Fall 2018 issue of Film Quarterly was the first that I worked on as the journal’s associate editor. As a seasoned reader of the journal, and sometime contributor, I was excited to get my first peak under the hood of a publication I’d long admired. What I saw took me by surprise. The content—provocative, political, unapologetically engagé—was bracing but not unexpected, reflecting the vision B. Ruby Rich had brought to the journal since the st…
Through America’s Eyes
Through America’s Eyes
This chapter, by Rebecca Prime, unearths the political and ideological dimensions of the widescreen technology of Cinerama. Reinserting Cinerama in its Cold War historical context, this chapter contends that Cinerama was both a domestic cultural phenomenon and a stealth weapon in America’s battle for hearts and minds abroad. Through new archival research into Cinerama’s global exhibition, as sponsored by the U.S. State Department and armed servic…
Sin obras prominentes en esta página.
Through America’s Eyes
This chapter, by Rebecca Prime, unearths the political and ideological dimensions of the widescreen technology of Cinerama. Reinserting Cinerama in its Cold War historical context, this chapter contends that Cinerama was both a domestic cultural phenomenon and a stealth weapon in America’s battle for hearts and minds abroad. Through new archival research into Cinerama’s global exhibition, as sponsored by the U.S. State Department and armed servic…
Through America’s Eyes
Stepping Up, and Out
The Fall 2018 issue of Film Quarterly was the first that I worked on as the journal’s associate editor. As a seasoned reader of the journal, and sometime contributor, I was excited to get my first peak under the hood of a publication I’d long admired. What I saw took me by surprise. The content—provocative, political, unapologetically engagé—was bracing but not unexpected, reflecting the vision B. Ruby Rich had brought to the journal since the st…
The Human Voice
Because of the particularities of Film Quarterly’s production schedule, this editorial is being written during the closing days of 2023, a time of EOY reflections and New Year’s resolutions. Even for an inveterate optimist, it’s impossible not to feel concerned by what 2024 may have in store. The sense of living through history is hard to ignore, if equally hard to understand.My inclination is to look to the past, my thoughts bending—melodramatic…
An Expansive View
I recently received the thoughtful gift of a copy of Film Quarterly from 1977. The issue is slim—only sixty-six pages—and its small quarto size—roughly seven by ten inches—compact. The cover image, of Jeanne Dielman doing dishes in her housecoat, her back to the audience, fills the entire cover apart from the Film Quarterly logo, discreetly placed in the top right corner. In its format and presentation, Film Quarterly was very much of its time, s…
Transitions
This editorial marks my fond farewell to Film Quarterly. After six years at the journal and one year as editor, I am stepping down from the top of the masthead. Moving up is the journal’s longtime contributing editor J. M. Tyree. Josh is an associate professor in the Cinema Program at Virginia Commonwealth University and is the author or coauthor of many works of cinephilic fiction and nonfiction. His contributions to the BFI Film Classics series…
Cinema and Media Studies (6 obras) · History (3 obras) · Shakespeare, Adaptation, and Literary Criticism (3 obras) · Art (2 obras) · Cold war (2 obras) · Computer Science (2 obras) · Law (2 obras) · Political science (2 obras) · Sociology (2 obras) · Art history (1 obra)