Abstract
Using cyclical production theory founded on ideas advanced by historians, literary theorists, business scholars, and trade press journalists, this essay examines the associations between film and the public sphere. Film cycles are formed by contiguous events and activities inside and outside the institutions of filmmaking. Identifying these cycles and then writing a descriptive account of their formation, consolidation, and dissipation will, I argue, produce a history of film understood through its relationship to the topical that is neither deterministic nor reductive.
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