Boats: A Manual for Their Documentation by Paul Lipke

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By Paul Lipke

A guide for the numerous levels of historical watercraft documentation. comprises chapters on lines-taking, setting out development info, photographing and drawing watercraft. additionally incorporated are certain sections on gathering ethnographic, ancient, and archaeological information regarding old watercraft.

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Extra resources for Boats: A Manual for Their Documentation

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Clearly . . 78 While Prawer is speaking here mainly of horror films, his remarks—as he points out—can be adapted to fit “genre studies in any medium” (37). Certainly, they can be adapted to fit other film genres. Film noir, the thriller, and melodrama have a great deal of overlap with other genres. Avant-garde cinema is just as divergent in scope and quality as horror cinema. The European art film is so diverse that it is generally not represented as a genre at all. 80 Not only is there slippage between genres, but there is slippage between evaluative classifications, as well.

In its most extreme formulation, this view would connect TV (popular culture) with the feminine domestic space, and cinema (high art) with the public, masculine exhibition space. 23 I’ve discussed this at length to emphasize the problems inherent in assuming that spectators who see films on TV, laser disc, video, or CD-ROM literally watch the screen differently than spectators in theaters do. Home viewers are not necessarily distracted viewers. In fact, video and laser collectors gaze just as fixedly at the screen as any cinephile.

The film disgusted reviewers. Derek Hill’s now infamous review for the Tribune perhaps best sums up the critical response. “The only really satisfactory way to dispose of Peeping Tom would be to shovel it up and flush it swiftly down the nearest sewer. ”77 Interestingly, the film is now shown in art houses as well as in horror venues, and it is frequently taught—as an example of some of the best of British filmmaking—in university courses treating the history of British cinema. In a way, hybrid genres such as art-horror films simply point up the problems that have historically characterized all attempts at genre definition.

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