By the year of this Oscar montage, 1990, the cultures of home video viewing and movie taping had taken hold, and while the widespread development of the domestic cinephile would await the phenomenon of DVD collecting as characterized by Barbara Klinger, the accumulative spectatorial pleasures of the Workman montages foretell the dynamic of the contemporary movie collector. According to Klinger this is “a dynamic that occludes the relations the collection has to the outside world, particularly to the social and material conditions of mass production.” (Klinger, 147) Like the collector,.
