Daniel Herbert Klatzer Knihy

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.

A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Maverick Movies tells the improbable story of New Line Cinema, a company that cut a remarkable path through the American film industry and movie culture. Founded in 1967 as an art film distributor, New Line made a small fortune running John Waters's Pink Flamingos at midnight screenings in the 1970s and found reliable returns with the Nightmare on Elm Street franchise in the 1980s. By 2001, the company competed with the major Hollywood studios and reached global box office success with the Lord of the Rings franchise. Blurring boundaries between high and low culture, between independent film and Hollywood, and between the margins and the mainstream, New Line Cinema epitomizes Hollywood's shift in focus from the mass audience fostered by the classic studios to the multitude of niche audiences sought today.

Videoland offers a comprehensive view of the "tangible phase" 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.

Die rechtsförmliche Regelung der Gefährdungshaftung in Österreich ist stark zersplittert und findet sich großteils in diversen Sonder-haftpflichtgesetzen. Dieses Buch besitzt zwei Schwerpunkte: Erstens werden die wichtigsten dieser Sonderhaftpflichtgesetze überblicksartig dargestellt; beginnend mit dem ReichshaftpflichtG werden das Eisenbahn- und KraftfahrzeugshaftpflichtG, das RohrleitungsG, das Produkt-haftungsG, das GentechnikG, das AtomhaftungsG 1999, das MineralrohstoffG und das LuftfahrtG besprochen. Zweitens werden aus diesen Gesetzen ausgewählte Normen behandelt, die jeweils Zurechnungskriterien im Hinblick auf die Mitverantwortung des Geschädigten statuieren. §11 Abs 1 Satz 2 EKHG dient dabei als Ausgangsnorm. Diese Bestimmung regelt die Schadenersatzansprüche mehrerer nach EKHG Ersatzpflichtiger untereinander einschließlich der Mitverantwortlichkeit des Geschädigten (sogenannte Ausgleichs-ansprüche). Als Zurechnungselement ist nach EKHG neben dem Verschulden auch die mitwirkende Betriebsgefahr heranzuziehen. Wie herausgearbeitet wird, enthalten andere Sonderhaftpflichtgesetze unterschiedliche Wortlaute für die Regelung von Situationen mit identem Sachverhaltssubstrat.