Böcker av Daniel Herbert

"At long last, a top film scholar takes a deep dive into New Line Cinema's remarkable and most unlikely history, from an independent purveyor of midnight movies and slasher films after its founding in 1967 to the very top of the industry as a Warner subsidiary in the late 1990s and early 2000s. Mining a wealth of primary sources and trade press accounts, and with access to New Line's renegade founder and chief executive Bob Shaye himself, Daniel Herbert deftly recounts the company's rags-to-riches saga, culminating in the Lord of the Rings triumph before its equally spectacular flameout. In the process, Maverick Movies firmly situates New Line as one of the most important Hollywood studios in the past half-century."--Thomas Schatz, author of The Genius of the System: Hollywood Filmmaking in the Studio Era "Focusing on New Line Cinema, an indie outfit rooted in 1960s college-campus film culture that in the 1990s briefly became the tail that wagged the dog at the WB, Herbert crafts a comprehensive history of postclassical Hollywood, a compelling road map of the volatile movie industry from the late 1960s through the early 2000s."--Jon Lewis, author of Road Trip to Nowhere: Hollywood Encounters the Counterculture "Maverick Movies revitalizes the field of distribution studies. Exhibiting the same archival dexterity he brought to Videoland, Herbert reconsiders how New Line's eclecticism both predicted and reflected broader changes in US film culture of the late twentieth century. Maverick Movies will engage scholars across media industry studies, production studies, and new cinema history."--Caetlin Benson-Allott, author of The Stuff of Spectatorship: Material Cultures of Film and Television

"This text provides the roadmap to the vibrant area of Media Industry studies"--

Examines how remakes and sequels have been central to the film industry from its very inception, yet also considers how the recent trends toward reboots and transmedia franchises depart from those historical precedents. Film scholar Daniel Herbert not only analyses the film industry's increasing reliance on recycled product, but also asks why audiences are currently so drawn to such movies.

Videoland offers a comprehensive view of the "e;tangible phase"e; of consumer video, when Americans largely accessed movies as material commodities at video rental stores. Video stores served as a vital locus of movie culture from the early 1980s until the early 2000s, changing the way Americans socialized around movies and collectively made movies meaningful. When films became tangible as magnetic tapes and plastic discs, movie culture flowed out from the theater and the living room, entered the public retail space, and became conflated with shopping and salesmanship. In this process, video stores served as a crucial embodiment of movie culture's historical move toward increased flexibility, adaptability, and customization.In addition to charting the historical rise and fall of the rental industry, Herbert explores the architectural design of video stores, the social dynamics of retail encounters, the video distribution industry, the proliferation of video recommendation guides, and the often surprising persistence of the video store as an adaptable social space of consumer culture. Drawing on ethnographic fieldwork, cultural geography, and archival research, Videoland provides a wide-ranging exploration of the pivotal role video stores played in the history of motion pictures, and is a must-read for students and scholars of media history.