Spectacle of Property
The House in American Film
Will be published approx. on 15. December 2017
Book
Paperback/Softback
288 pages
978-1-5179-0370-1 (ISBN)
Description
Much of our time at the movies is spent in other people's homes. Cinema is, after all, often about everyday life. Spectacle of Property is the first book to address the question of the ubiquitous conjuncture of the moving image and its domestic architecture. Arguing that in cinema we pay to occupy spaces we cannot occupy, John David Rhodes explores how the house in cinema both structures and criticizes fantasies of property and ownership.
Rhodes tells the story of the ambivalent but powerful pleasure we take in looking at private property onscreen, analyzing the security and ease the house promises along with the horrible anxieties it produces. He begins by laying out a theory of film spectatorship that proposes the concept of the "spectator-tenant," with reference to films such as Gone with the Wind and The Magnificent Ambersons. The book continues with three chapters that are each occupied with a different architectural style and the films that make use of it: the bungalow, the modernist house, and the shingle style house. Rhodes considers a variety of canonical films rarely analyzed side by side, such as Psycho in relation to Grey Gardens and Meet Me in St. Louis. Among the other films discussed are Meshes of the Afternoon, Mildred Pierce, A Star Is Born, Killer of Sheep, and A Single Man.
Bringing together film history, film theory, and architectural history as no book has to date, Spectacle of Property marks a new milestone in examining cinema's relationship to realism while leaving us vastly more informed about, if less at home inside, the houses we occupy at the movies.
Rhodes tells the story of the ambivalent but powerful pleasure we take in looking at private property onscreen, analyzing the security and ease the house promises along with the horrible anxieties it produces. He begins by laying out a theory of film spectatorship that proposes the concept of the "spectator-tenant," with reference to films such as Gone with the Wind and The Magnificent Ambersons. The book continues with three chapters that are each occupied with a different architectural style and the films that make use of it: the bungalow, the modernist house, and the shingle style house. Rhodes considers a variety of canonical films rarely analyzed side by side, such as Psycho in relation to Grey Gardens and Meet Me in St. Louis. Among the other films discussed are Meshes of the Afternoon, Mildred Pierce, A Star Is Born, Killer of Sheep, and A Single Man.
Bringing together film history, film theory, and architectural history as no book has to date, Spectacle of Property marks a new milestone in examining cinema's relationship to realism while leaving us vastly more informed about, if less at home inside, the houses we occupy at the movies.
Reviews / Votes
"Opening up a whole new and exciting field of study, Spectacle of Property is far more intelligent, interesting, and revelatory than most cinema studies books. John David Rhodes's combination of sensitive and nuanced close-readings of films and the rich theoretical contexts in which he elaborates them is brilliantly original. Among the book's great pleasures is Rhodes's own writing; it is elegant, judicious, and finely modulated."-David E. James, University of Southern California"Spectacle of Property is a far-reaching and original account of the relationship between private houses and cinematic spaces and the conflicted ways they are viewed and inhabited. Deftly analyzing a variety of different types of abodes and their gendered and race-inflected underpinnings, John David Rhodes demonstrates the way a house may determine the shape of a cinematic narrative. He provides new and fascinating interpretations of such iconic films as Mildred Pierce, To Kill a Mockingbird, Meet Me in St. Louis, and Psycho."-Merrill Schleier, author of Skyscraper Cinema: Architecture and Gender in American Film
"Spectacle of Property is a brilliant, provocative, politically astute, and witty exploration of a fascinating topic. In looking at the ways in which houses and domestic architecture are figured in a wide range of American films, it gives us entirely new understandings of cinematic and architectural spaces and of our relationships to 'property.'"-Laura Marcus, University of Oxford
"Spectacle of Property points cinema studies in new directions that should inspire scholarship, teaching, and debate about space, modernity, and Hollywood history."-Critical Inquiry
"By bringing together the world of cinema and the world of private houses, Rhodes succeeds in producing new ways of looking both at cinema and at houses-all of this in the larger context of the constructing and experience of new spaces as well as the attempts to maintain no longer viable forms of living and to anticipate the housing and looking forms of tomorrow. Spectacle of Property is a game-changing publication, which ceaselessly emphasizes the ethical and political dimension of cultural criticism."-Leonardo Reviews
More details
Language
English
Place of publication
Minnesota
United States
Target group
Professional and scholarly
Illustrations
54 black and white illustrations
Dimensions
Height: 216 mm
Width: 140 mm
Thickness: 38 mm
ISBN-13
978-1-5179-0370-1 (9781517903701)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Person
John David Rhodes teaches at the University of Cambridge, where he is director of the Centre for Film and Screen. He is author of Stupendous, Miserable City: Pasolini's Rome and coeditor of Taking Place: Location and the Moving Image, both from Minnesota.
Content
Contents
Introduction: The House as Medium
1. Cinema's Short Term Tenancy: A Materialist Theory of Film Spectatorship
2. Wrong Life: Bungalow Aesthetics in and against Hollywood
3. All Too Easy: The Modernist House and Effortless Appropriation
4. Between the Past and the Present: Nostalgia and the Cinema of Stick and Shingle Style Architecture
Coda. From Porch to Attic: Condemned to Property in New Orleans
Acknowledgments
Notes
Index
Introduction: The House as Medium
1. Cinema's Short Term Tenancy: A Materialist Theory of Film Spectatorship
2. Wrong Life: Bungalow Aesthetics in and against Hollywood
3. All Too Easy: The Modernist House and Effortless Appropriation
4. Between the Past and the Present: Nostalgia and the Cinema of Stick and Shingle Style Architecture
Coda. From Porch to Attic: Condemned to Property in New Orleans
Acknowledgments
Notes
Index