吸血鬼情人与哈默1970年后的制作策略

IF 0.2 1区 艺术学 0 FILM, RADIO, TELEVISION
V. Barnett
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引用次数: 0

摘要

本文首先考察了改编自谢里丹·勒·法努中篇小说《卡米拉》的《吸血鬼情人》的艺术和商业价值。电影的制作由詹姆斯·卡雷拉斯在哈默转包给梦幻电影公司,这是一家由哈利·法恩、迈克尔·斯泰尔和都铎·盖茨创立的公司。接着,本文考察了对这部电影的各种不同的和相互竞争的艺术判断,以及它不同寻常的梦幻氛围的构建。它记录了它在英国和美国的票房表现,并从更一般的角度审视了哈默1970年后的制作策略,以及公司在1967-72年期间(《吸血鬼情人》前后)的整体财务表现。最后,本书考察了汉默1968年获得女王工业奖的情况,电影制作的滚动生产线(或“流水线”)模式对公司总体盈利水平的影响,以及迈克尔·卡雷拉斯1970年后接管汉默的一些后果。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Vampire Lovers and Hammer's Post-1970 Production Strategy
This article firstly examines the artistic and commercial merits of The Vampire Lovers, which was adapted from the Sheridan Le Fanu novella Carmilla. The production of the film was subcontracted by James Carreras at Hammer to Fantale Films, a company established by Harry Fine, Michael Style and Tudor Gates. The article then proceeds by examining various different and competing artistic judgements that have been made about the film, and also the construction of its unusual dreamy atmosphere. It documents both its UK and US box-office performances and goes on to examine Hammer's post-1970 production strategy in more general terms and in relation to the overall financial performance of the company in the period 1967–72, just before and after The Vampire Lovers. Finally, it examines Hammer's receipt of the Queen's Award for Industry in 1968, the effect of its rolling production-line (or ‘pipeline’) model of film-making on the company's general level of profitability, and some of the consequences of Michael Carreras's assumption of managerial control at Hammer after 1970.
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来源期刊
Journal of British Cinema and Television
Journal of British Cinema and Television FILM, RADIO, TELEVISION-
CiteScore
1.20
自引率
11.10%
发文量
53
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