The Emergence of Cinematic Time

Modernity, Contingency, the Archive

Author: Mary Ann Doane

Publisher: Harvard University Press

ISBN: 9780674007291

Category: Performing Arts

Page: 288

View: 8019

Hailed as the permanent record of fleeting moments, the cinema emerged at the turn of the nineteenth century as an unprecedented means of capturing time--and this at a moment when disciplines from physics to philosophy, and historical trends from industrialization to the expansion of capitalism, were transforming the very idea of time. In a work that itself captures and reconfigures the passing moments of art, history, and philosophy, Mary Ann Doane shows how the cinema, representing the singular instant of chance and ephemerality in the face of the increasing rationalization and standardization of the day, participated in the structuring of time and contingency in capitalist modernity. At this book's heart is the cinema's essential paradox: temporal continuity conveyed through "stopped time," the rapid succession of still frames or frozen images. Doane explores the role of this paradox, and of notions of the temporal indeterminacy and instability of an image, in shaping not just cinematic time but also modern ideas about continuity and discontinuity, archivability, contingency and determinism, and temporal irreversibility. A compelling meditation on the status of cinematic knowledge, her book is also an inquiry into the very heart and soul of modernity.
Release

The Emergence of Cinematic Time

Modernity, Contingency, the Archive

Author: Mary Ann Doane

Publisher: N.A

ISBN: 9780674007840

Category: Performing Arts

Page: 288

View: 3153

Hailed as the permanent record of fleeting moments, the cinema emerged at the turn of the nineteenth century as an unprecedented means of capturing time--and this at a moment when disciplines from physics to philosophy, and historical trends from industrialization to the expansion of capitalism, were transforming the very idea of time. In a work that itself captures and reconfigures the passing moments of art, history, and philosophy, Mary Ann Doane shows how the cinema, representing the singular instant of chance and ephemerality in the face of the increasing rationalization and standardization of the day, participated in the structuring of time and contingency in capitalist modernity. At this book's heart is the cinema's essential paradox: temporal continuity conveyed through "stopped time," the rapid succession of still frames or frozen images. Doane explores the role of this paradox, and of notions of the temporal indeterminacy and instability of an image, in shaping not just cinematic time but also modern ideas about continuity and discontinuity, archivability, contingency and determinism, and temporal irreversibility. A compelling meditation on the status of cinematic knowledge, her book is also an inquiry into the very heart and soul of modernity.
Release

Empty Moments

Cinema, Modernity, and Drift

Author: Leo Charney

Publisher: Duke University Press

ISBN: 9780822320906

Category: Performing Arts

Page: 189

View: 4117

An innovative reconceptualization of the defining quality of modernity and how it relates to cinema and literary theory.
Release

Femmes Fatales

Author: Mary Ann Doane

Publisher: Routledge

ISBN: 1136639047

Category: Social Science

Page: 324

View: 7650

A major work of feminist film criticism examining questions of sexual difference, the female body and the female spectator through a discussion of such figures as Pabst's Lulu and Rita Hayworth's Gilda.
Release

Change Mummified

Cinema, Historicity, Theory

Author: Philip Rosen

Publisher: U of Minnesota Press

ISBN: 9780816636372

Category: Performing Arts

Page: 444

View: 7737

Exploring the modern category of history in relation to film theory, film textuality, and film history, Change Mummified makes a persuasive argument for the centrality of historicity to film as well as the special importance of film in historical culture. What do we make of the concern for recovering the past that is consistently manifested in so many influential modes of cinema, from Hollywood to documentary and postcolonial film? How is film related to the many modern practices that define themselves as configuring pastness in the present, such as architectural preservation, theme parks, and, above all, professional historical research? What is the relation of history in film to other media such as television and digital imaging? How does emphasizing the connection between film and modern historicity affect the theorization and historicization of film and modern media culture? Pursuing the full implications of film as cultural production, Philip Rosen reconceptualizes modern historicity as a combination of characteristic epistemological structures on the one hand, and the social imperative to regulate or manage time on the other. Emphasizing a fundamental constellation of pursuit of the real, indexical signification and the need to control time, he interrogates a spectrum of film theory and film texts. His argument refocuses the category of temporality for film and cultural theory while rethinking the importance of historicity. An original and sustained meditation on the historiographic status of cinematic signs, Change Mummified is both an intervention in film and media studies and an argument for the continuing necessity of modern historical thinking in its contradictions.
Release

Beyond the Multiplex

Cinema, New Technologies, and the Home

Author: Barbara Klinger

Publisher: Univ of California Press

ISBN: 0520245865

Category: History

Page: 310

View: 2236

Presents a study of how contemporary entertainment technologies and media shape our encounters with movies. This book explores topics, such as home theater, film collecting, classic Hollywood movie reruns, repeat viewings, and Internet film parodies, providing a multifaceted view of the presentation and reception of films in US households.
Release

Babel and Babylon

Author: Miriam HANSEN

Publisher: Harvard University Press

ISBN: 0674038290

Category: Performing Arts

Page: 389

View: 2082

Release

Reading the Figural, Or, Philosophy After the New Media

Author: David Rodowick

Publisher: Duke University Press

ISBN: 9780822327226

Category: Philosophy

Page: 276

View: 5155

DIVTheorizes the concept of the figural as a way to get beyond the long held aesthetic distinction between plastic and linguistic arts, a distinction that will not work for film and new media./div
Release

Cinema and Experience

Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno

Author: Miriam Bratu Hansen,Marian Bratu Hansen

Publisher: Univ of California Press

ISBN: 0520265599

Category: Performing Arts

Page: 380

View: 5611

"Like a careful gardener, Miriam Hansen planted and interwove traditions of Frankfurt critical theory, modern film history, and her own critical passions and curiosity. She is an important transatlantic bridge for the traditions of enlightenment and film art. She was not only a theoretical mind, but someone who also exerted a strong, practical influence on filmmaking. Because of her, the Minutenfilm saw a rebirth, as well as film projected onto multiple screens, the Max Ophuls renaissance, and much more. We auteurs listened to her. She was--as she sat in her Chicago office and worked, occasionally glancing over the lake--our prophet." --Alexander Kluge, "Berlin Journal" ""Cinema and Experience" is a doubly poignant book: simultaneously a soulful investigation into the complex fate of experience in a mass-mediated modernity and the posthumous publication of the culminating masterwork of one the master scholars of cinema studies. Rich and probing insights resonate from every page of this wonderful volume." --Dana Polan, author of "Scenes of Instruction: The Beginnings of the U.S. Study of Film" "Miriam Hansen's brilliant analysis of the cinematic experience combines a democratic respect for mass culture with the highest standards of scholarly excellence. Mickey Mouse, slapstick comedy, the photographic image and filmed reality become her keys to deciphering the philosophical differences between Adorno and Benjamin, and the philosophical significance of Kracauer's journalistic eye. The present--new media, social networking, drone warfare--is never out of her sight. For the beginning student and the advanced scholar in multiple disciplines, Hansen's writing is a gift, and a roadmap to every relevant scholarly debate. This is an indispensable book by an irreplaceable author. We shall miss her." --Susan Buck-Morss, author of "The Dialectics of Seeing: Walter Benjamin and the Arcades Project" "Miriam Hansen's study is the first comprehensive reconstruction of the complex theoretical frames in which Adorno, Benjamin, and Kracauer set their philosophical thoughts on film and cinema. Hansen's profound knowledge of the complete works of these influential thinkers allows her to relate questions of film and cinema aesthetics to the core thoughts of the Critical Theory of the Frankfurt School in manifold and sometimes surprisingly new ways. This study will establish a new look at the Frankfurt School as well as on film theory in general." --Gertrud Koch, author of "Siegfried Kracauer: An Introduction" "In her posthumous book, Miriam Hansen offers novel readings, both subtle and robust, of Kracauer, Benjamin, and Adorno's reflections on cinema as experience, weaving often disconnected threads into a tapestry of common concepts and concerns that highlights closeness and distance between these writers in unexpected ways. What emerges is yet another Frankfurt School: Critical Theory as media aesthetics and theory of experience. The triangulation of Adorno and Benjamin with Kracauer permits her to think beyond the annoyingly persistent accounts pitting the Eurocentric mandarin against the progressive film and media theorist. The inspirational role of Kracauer for Benjamin is finally acknowledged and Kracauer is freed from the misunderstanding of his work on photography and film as a naive realism. And who but Miriam Hansen would have been able to link Benjamin's notion of aura--explicated in a much broadened discursive and political context--to Adorno's aesthetic of natural beauty? Thinking with Adorno beyond Adorno in modernist aesthetics, with Benjamin beyond Benjamin in media theory, with Kracauer beyond Kracauer on mass culture, she keeps the legacy of Critical Theory alive for an analysis of human experience and cultural practice in our age of digital media." --Andreas Huyssen, Columbia Unive
Release

Late Godard and the Possibilities of Cinema

Author: Daniel Morgan

Publisher: Univ of California Press

ISBN: 0520273311

Category: Performing Arts

Page: 309

View: 2962

“Late Godard and the Possibilities of Cinema is an exhilarating and extremely lucid analysis of the way Godard ‘thinks’ in, of, and through cinema. Drawing on his extensive knowledge of French culture, politics and theory, Morgan skillfully illustrates the complex relations between history, aesthetics, and nature in the director’s later works. Defying criticism of Godard’s alleged retreat from politics, this book provides compelling, detailed, and erudite analyses of his later films and illuminates the auteur’s political and aesthetic response to the so-called ‘death of cinema.’”— Mary Ann Doane, author of The Emergence of Cinematic Time: Modernity, Contingency, the Archive. “Daniel Morgan charts a sensible route into the impenetrable Jean-Luc Godard. Posing clear yet insistent questions, he burrows to the center of both parts of this book’s formidable title, finding in late Godard an aesthetic fusion that generates the light and heat of a trenchant and powerful political critique. Anyone who feels drawn or licensed to write about Godard should read Morgan before setting out.”—Dudley Andrew, author of What Cinema Is! “Daniel Morgan's Late Godard and the Possibilities of Cinema signals a major breakthrough in the international study of the cinema of Jean-Luc Godard. Reconciling the filmmaker's peculiarly Romantic sense of aesthetics —to which the book pays scrupulous, material attention—with the thorny political histories that Godard's cinema has always probed, Morgan gives us new, compelling, synthetic tools with which to understand an artist who is at once the most cryptic and the most sensuous of all living filmmakers.”—Adrian Martin, Monash University, co-editor of lolajournal.com
Release

Movement as Meaning

In Experimental Film

Author: Daniel Barnett

Publisher: Rodopi

ISBN: 9042023856

Category: Performing Arts

Page: 224

View: 5876

"This book offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference. He then develops a hyper-simplified formula of movement as meaning to discuss, with true equivalence, the process of reference as it occurs in natural language, technical language, poetic language, painting, photography, music, and of course, cinema. Barnett then applies his analytic technique to an original perspective on cine-poetics based on Paul Valerys concept of omnivalence, and to a projection of how this style of analysis, derived from analog cinema, can help us clarify our view of the digital mediasphere and its relation to consciousness." "Informed by the philosophy of Quine, Dennett, Merleau-Ponty as well as the later work of Wittgenstein, among others, he uses the film work of Stan Brakhage, Tony Conrad, A.K. Dewdney, Nathaniel Dorsky, Ken Jacobs, Owen Land, Saul Levine, Gregory Markopoulos Michael Snow, and the poetry of Basho, John Cage, John Cayley and Paul Valery to illustrate the power of his unique perspective on meaning."--BOOK JACKET.
Release

Death 24x a Second

Stillness and the Moving Image

Author: Laura Mulvey

Publisher: Reaktion Books

ISBN: 9781861892638

Category: Performing Arts

Page: 216

View: 4285

In Death 24 x a Second, Laura Mulvey addresses some of the key questions of film theory, spectatorship and narrative. New media technologies, such as video and DVD, have transformed the way we experience film, and the viewers’ relationship to film image and cinema’s narrative structure has also been fundamentally altered. These technologies give viewers the means to control both image and story, so that films produced to be seen collectively and followed in a linear fashion may be found to contain unexpected (even unintended) pleasures. The tension between the still frame and the moving image coincides with the cinema’s capacity to capture the appearance of life and preserve it after death. Mulvey proposes that with the arrival of new technologies and new ways of experiencing the cinematic image, film’s hidden stillness comes to the fore, thereby acquiring a new accessibility and visibility. The individual frame, the projected film’s best-kept secret, can now be revealed, by anyone, at the simple touch of a button. As Mulvey argues, easy access to repetition, slow motion and the freeze-frame may well shift the spectator’s pleasure to a fetishistic rather than a voyeuristic investment in the cinematic object. The manipulation of the cinematic image by the viewer also makes visible cinema’s material and aesthetic attributes. By exploring how new technologies can give new life to ‘old’ cinema, Death 24 x a Secondoffers an original re-evaluation of film’s history and also its historical usefulness.
Release

The Neuro-Image

A Deleuzian Film-Philosophy of Digital Screen Culture

Author: Patricia Pisters

Publisher: Stanford University Press

ISBN: 0804782849

Category: Performing Arts

Page: 392

View: 2840

Arguing that today's viewers move through a character's brain instead of looking through his or her eyes or mental landscape, this book approaches twenty-first-century globalized cinema through the concept of the "neuro-image." Pisters explains why this concept has emerged now, and she elaborates its threefold nature through research from three domains—Deleuzian (schizoanalytic) philosophy, digital networked screen culture, and neuroscientific research. These domains return in the book's tripartite structure. Part One, on the brain as "neuroscreen," suggests rich connections between film theory, mental illness, and cognitive neuroscience. Part Two explores neuro-images from a philosophical perspective, paying close attention to their ontological, epistemological, and aesthetic dimensions. Political and ethical aspects of the neuro-image are discussed in Part Three. Topics covered along the way include the omnipresence of surveillance, the blurring of the false and the real and the affective powers of the neo-baroque, and the use of neuro-images in politics, historical memory, and war.
Release

Picturing Time

The Work of Etienne-Jules Marey (1830-1904)

Author: Marta Braun

Publisher: University of Chicago Press

ISBN: 9780226071756

Category: Photography

Page: 472

View: 6645

A complete, illustrated survey of Etienne-Jules Marey's work that investigates the far reaching effects of her inventions on stream-of-consciousness literature, psychoanalysis, Bergsonian philosophy, and the art of cubists and futurists.
Release

Window Shopping

Cinema and the Postmodern

Author: Anne Friedberg

Publisher: Univ of California Press

ISBN: 0520089243

Category: Performing Arts

Page: 287

View: 8800

"Friedberg's idea of the 'mobilized virtual gaze' may become the way we conceive of postmodern subjectivity. This book is in a class by itself."—Linda Hutcheon, author of The Politics of Postmodernism
Release

Desire to Desire

Women's Films of the 1940's

Author: Mary Anne Doane

Publisher: Palgrave Macmillan

ISBN: 9780333455357

Category: Performing Arts

Page: 211

View: 776

The Desire to Desire is a study of the symptoms of ideological stress in the genre of the Hollywood woman's film of the 1940s. The book traces the way in which female spectatorship is specified by its lapses or failures, arguing that the woman's film asserts and denies female desire, attributing to the woman only an impossible gaze.
Release

Cartographic Cinema

Author: Tom Conley

Publisher: U of Minnesota Press

ISBN: 9780816643561

Category: Performing Arts

Page: 264

View: 7664

Maps and movies tell their viewers where they are situated, what they are doing, and, to a strong degree, who they are. In this groundbreaking work, eminent scholar Tom Conley establishes the ideological power of maps in classic, contemporary, and avant-garde cinema to shape the imaginary and mediated relations we hold with the world.
Release

Ex-Cinema

From a Theory of Experimental Film and Video

Author: Akira Lippit

Publisher: Univ of California Press

ISBN: 0520953916

Category: Performing Arts

Page: 202

View: 1138

What does it mean for film and video to be experimental? In this collection of essays framed by the concept "ex-"—meaning from, outside, and no longer—Akira Mizuta Lippit explores the aesthetic, technical, and theoretical reverberations of avant-garde film and video. Ex-Cinema is a sustained reflection on the ways in which experimental media artists move outside the conventions of mainstream cinema and initiate a dialogue on the meaning of cinema itself.
Release

Candid Eyes

Essays on Canadian Documentaries

Author: Jim Leach

Publisher: University of Toronto Press

ISBN: 9780802082992

Category: History

Page: 248

View: 1912

Documentaries have dominated Canada's film production and have been crucial to the formation of Canada's cinematic identity. This volume will be an indispensable companion for anyone seriously interested in Canadian film studies.
Release

The death of cinema

history, cultural memory and the digital dark age

Author: Paolo Cherchi Usai

Publisher: British Film Inst

ISBN: N.A

Category: Art

Page: 134

View: 6883

It is estimated that about one and a half billion hours of moving images were produced in 1999, twice as many as a decade before. If that rate of growth continues, one hundred billion hours of moving images will be made in the year 2025. In 1895 there were just above forty minutes of moving images to be seen, and most of them are now preserved. Today, for every film made, thousands of them disappear forever without leaving a trace. Meanwhile, public and private institutions are struggling to save the film heritage with largely insufficient resources and ever increasing pressure from the commercial world. Are they wasting their time? Is the much feared and much touted Death of Cinema already occurring before our eyes? Is digital technology the solution to the problem, or just another illusion promoted by the industry? In a provocative essay designed as a collection of aphorisms and letters, Paolo Cherchi Usai brings an impassioned scrutiny to bear on these issues with a critique of film preservation, an indictiment of the crimes perpetuated in its name, and a proposal to give a new analytical framework to a major cultural phenomenon of our time. "The Death of Cinema" is published in Italian as "L'ultimo spettatore." Sulla distruzione del cinema 1999, Editore Il Castoro.
Release