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| | Malone on Hake |
 | | At roughly the same time, however, 'film' itself (or more properly the film industry) quickly began to develop its own self-promoting discourse, first through trade publications and later by means of fan magazines and other mass-media outlets, appealing to both prospective distributors and prospective spectators. |
 | | All four of these chapters cover roughly the entire time span 1918-1933 from different perspectives: roughly and respectively, the ongoing commodification, aestheticisation, mediatisation, and, obviously, politicisation of film as art (or non-art, depending on the writer). |
 | | In a sense, however, the second of these chapters, as the seventh of twelve in total, is itself a sort of pivot point for the entire work, and I will concentrate on this chapter. |
| www.film-philosophy.com /vol3-1999/n37malone (1947 words) |
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