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: 9585

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.
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Kultur des Diagramms

Author: John Bender,Michael Marrinan

Publisher: Walter de Gruyter GmbH & Co KG

ISBN: 3110380293

Category: Art

Page: 299

View: 3258

wort und Bild fügen die Autoren in einer neuen Sicht zu einem instruktiven Diagrammkonzept zusammen. Diagramme sind Amalgame des Erkennens, aber auch, um als Erkenntnismittel verständlich zu werden, innerweltlich vorfindbare Gegenstände, mit denen kognitiv gearbeitet wird. Diagrammatisches Denken eröffnet Querverweise und ermöglicht so eine relationale, vom Erkennenden aktiv betriebene Urteilsbildung.
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Das Buch des Lebens

wer schrieb den genetischen Code?

Author: Lily E. Kay

Publisher: N.A

ISBN: 9783518293461

Category: Genetic code

Page: 556

View: 638

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Automedialität

Subjektkonstitution in Schrift, Bild und neuen Medien

Author: Jörg Dünne,Christian Moser

Publisher: N.A

ISBN: 9783770545780

Category: Autobiography

Page: 444

View: 8161

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Afterlives: Allegories of Film and Mortality in Early Weimar Germany

Author: Steve Choe

Publisher: Bloomsbury Publishing USA

ISBN: 1441145206

Category: Performing Arts

Page: 272

View: 5834

Weimar cultural critics and intellectuals have repeatedly linked the dynamic movement of the cinema to discourses of life and animation. Correspondingly, recent film historians and theorists have taken up these discourses to theorize the moving image, both in analog and digital. But, many important issues are overlooked. Combining close readings of individual films with detailed interpretations of philosophical texts, all produced in Weimar Germany immediately following the Great War, Afterlives: Allegories of Film and Mortality in Early Weimar Germany shows how these films teach viewers about living and dying within a modern, mass mediated context. Choe places relatively underanalyzed films such as F. W. Murnau's The Haunted Castle and Arthur Robison's Warning Shadows alongside Martin Heidegger's early seminars on phenomenology, Sigmund Freud's Reflections upon War and Death and Max Scheler's critique of ressentiment. It is the experience of war trauma that underpins these correspondences, and Choe foregrounds life and death in the films by highlighting how they allegorize this opposition through the thematics of animation and stasis.
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Mediale Dispositive

Author: Ivo Ritzer,Peter W. Schulze

Publisher: Springer-Verlag

ISBN: 3658212640

Category: Performing Arts

Page: 312

View: 9938

Der Band nimmt zum einen in einer Doppelperspektive die distinkten Genre-Rekurse der jeweiligen Einzelmedien in den Blick wie zum anderen auch die transmediale Zirkulation von Genre-Parametern. Dementsprechend beschäftigen sich die Beiträge sowohl mit den für spezifische Medien charakteristischen Genre-Diskursen als insbesondere auch mit den medienübergreifenden Adaptionsprozessen von Genres in unterschiedlichen medialen Kontexten.
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Eye of the Century

Film, Experience, Modernity

Author: Francesco Casetti

Publisher: Columbia University Press

ISBN: 0231511493

Category: Performing Arts

Page: 288

View: 3676

Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity. He suggests that film defined a unique gaze, not only because it recorded many of the century's most important events, but also because it determined the manner in which they were received. Casetti begins by examining film's nature as a medium in an age obsessed with immediacy, nearness, and accessibility. He considers the myths and rituals cinema constructed on the screen and in the theater and how they provided new images and behaviors that responded to emerging concerns, ideas, and social orders. Film also succeeded in negotiating the different needs of modernity, comparing and uniting conflicting stimuli, providing answers in a world torn apart by conflict, and satisfying a desire for everydayness, as well as lightness, in people's lives. The ability to communicate, the power to inform, and the capacity to negotiate-these are the three factors that defined film's function and outlook and made the medium a relevant and vital art form of its time. So what kind of gaze did film create? Film cultivated a personal gaze, intimately tied to the emergence of point of view, but also able to restore the immediacy of the real; a complex gaze, in which reality and imagination were combined; a piercing gaze, achieved by machine, and yet deeply anthropomorphic; an excited gaze, rich in perceptive stimuli, but also attentive to the spectator's orientation; and an immersive gaze, which gave the impression of being inside the seen world while also maintaining a sense of distance. Each of these gazes combined two different qualities and balanced them. The result was an ever inventive synthesis that strived to bring about true compromises without ever sacrificing the complexity of contradiction. As Casetti demonstrates, film proposed a vision that, in making opposites permeable, modeled itself on an oxymoronic principle. In this sense, film is the key to reading and understanding the modern experience.
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Counter-Archive

Film, the Everyday, and Albert Kahn's Archives de la Planète

Author: Paula Amad

Publisher: Columbia University Press

ISBN: 0231509073

Category: Performing Arts

Page: 480

View: 3521

Tucked away in a garden on the edge of Paris is a multimedia archive like no other: Albert Kahn's Archives de la Planète (1908-1931). Kahn's vast photo-cinematographic experiment preserved world memory through the privileged lens of everyday life, and Counter-Archive situates this project in its biographic, intellectual, and cinematic contexts. Tracing the archive's key influences, such as the philosopher Henri Bergson, the geographer Jean Brunhes, and the biologist Jean Comandon, Paula Amad maps an alternative landscape of French cultural modernity in which vitalist philosophy cross-pollinated with early film theory, documentary film with the avant-garde, cinematic models of temporality with the early Annales school of history, and film's appropriation of the planet with human geography and colonial ideology. At the heart of the book is an insightful meditation upon the transformed concept of the archive in the age of cinema and an innovative argument about film's counter-archival challenge to history. The first comprehensive study of Kahn's films, Counter-Archive also offers a vital historical perspective on debates involving archives, media, and memory.
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Die Erfindung der Nation

zur Karriere eines folgenreichen Konzepts

Author: Benedict R. O'G. Anderson

Publisher: N.A

ISBN: 9783593377292

Category:

Page: 306

View: 334

Nach Benedict Anderson gibt es keine Nationen, die "Nation" ist eine Erfindung, ein Modell, das nur in bestimmten historischen Konstellationen möglich war. Er löste damit Debatten aus, die bis heute nicht abgeschlossen sind. Beim ersten Erscheinen der deutschen Ausgabe 1988 wurde Anderson vorgeworfen, dass seine Perspektive außereuropäisch und kulturanthropologisch sei. Heute macht gerade das den Reiz des Buches aus.
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Literature and Film in Cold War South Korea

Freedom's Frontier

Author: Theodore Hughes

Publisher: Columbia University Press

ISBN: 0231500718

Category: History

Page: 304

View: 5575

Korean writers and filmmakers crossed literary and visual cultures in multilayered ways under Japanese colonial rule (1910–1945). Taking advantage of new modes and media that emerged in the early twentieth century, these artists sought subtle strategies for representing the realities of colonialism and global modernity. Theodore Hughes begins by unpacking the relations among literature, film, and art in Korea's colonial period, paying particular attention to the emerging proletarian movement, literary modernism, nativism, and wartime mobilization. He then demonstrates how these developments informed the efforts of post-1945 writers and filmmakers as they confronted the aftershocks of colonialism and the formation of separate regimes in North and South Korea. Hughes puts neglected Korean literary texts, art, and film into conversation with studies on Japanese imperialism and Korea's colonial history. At the same time, he locates post-1945 South Korean cultural production within the transnational circulation of texts, ideas, and images that took place in the first three decades of the Cold War. The incorporation of the Korean Peninsula into the global Cold War order, Hughes argues, must be understood through the politics of the visual. In Literature and Film in Cold War South Korea, he identifies ways of seeing that are central to the organization of a postcolonial culture of division, authoritarianism, and modernization.
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Motion(less) Pictures

The Cinema of Stasis

Author: Justin Remes

Publisher: Columbia University Press

ISBN: 0231538901

Category: Performing Arts

Page: 208

View: 5332

Conducting the first comprehensive study of films that do not move, Justin Remes challenges the primacy of motion in cinema and tests the theoretical limits of film aesthetics and representation. Reading experimental films such as Andy Warhol's Empire (1964), the Fluxus work Disappearing Music for Face (1965), Michael Snow's So Is This (1982), and Derek Jarman's Blue (1993), he shows how motionless films defiantly showcase the static while collapsing the boundaries between cinema, photography, painting, and literature. Analyzing four categories of static film--furniture films, designed to be viewed partially or distractedly; protracted films, which use extremely slow motion to impress stasis; textual films, which foreground the static display of letters and written words; and monochrome films, which display a field of monochrome color as their image--Remes maps the interrelations between movement, stillness, and duration and their complication of cinema's conventional function and effects. Arguing all films unfold in time, he suggests duration is more fundamental to cinema than motion, initiating fresh inquiries into film's manipulation of temporality, from rigidly structured works to those with more ambiguous and open-ended frameworks. Remes's discussion integrates the writings of Roland Barthes, Gilles Deleuze, Tom Gunning, Rudolf Arnheim, Raymond Bellour, and Noel Carroll and will appeal to students of film theory, experimental cinema, intermedia studies, and aesthetics.
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Cinematic Appeals

The Experience of New Movie Technologies

Author: Ariel Rogers

Publisher: Columbia University Press

ISBN: 0231535783

Category: Performing Arts

Page: 352

View: 9768

Cinematic Appeals follows the effect of technological innovation on the cinema experience, specifically the introduction of widescreen and stereoscopic 3D systems in the 1950s, the rise of digital cinema in the 1990s, and the transition to digital 3D since 2005. Widescreen cinema promised to draw the viewer into the world of the screen, enabling larger-than-life close-ups of already larger-than-life actors. This technology fostered the illusion of physically entering a film, enhancing the semblance of realism. Alternatively, the digital era was less concerned with the viewer's physical response and more with information flow, awe, and the reevaluation of spatiality and embodiment. This study ultimately shows how cinematic technology and the human experience shape and respond to each other over time.
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Closed Circuits

Screening Narrative Surveillance

Author: Garrett Stewart

Publisher: University of Chicago Press

ISBN: 022620135X

Category: Performing Arts

Page: 296

View: 5134

The recent uproar over NSA dataveillance can obscure the fact that surveillance has been part of our lives for decades. And cinema has long been aware of its power—and potential for abuse. In Closed Circuits, Garrett Stewart analyzes a broad spectrum of films, from M and Rear Window through The Conversation to Déjà Vu, Source Code, and The Bourne Legacy, in which cinema has articulated—and performed—the drama of inspection’s unreturned look. While mainstays of the thriller, both the act and the technology of surveillance, Stewart argues, speak to something more foundational in the very work of cinema. The shared axis of montage and espionage—with editing designed to draw us in and make us forget the omnipresence of the narrative camera—extends to larger questions about the politics of an oversight regime that is increasingly remote and robotic. To such a global technopticon, one telltale response is a proliferating mode of digitally enhanced “surveillancinema.”
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The Cambridge Introduction to Emmanuel Levinas

Author: Michael L. Morgan

Publisher: Cambridge University Press

ISBN: 113949807X

Category: Religion

Page: N.A

View: 7118

This book provides a clear and helpful overview of the thought of Emmanuel Levinas, one of the most significant and interesting philosophers of the late twentieth century. Michael L. Morgan presents an overall interpretation of Levinas' central principle that human existence is fundamentally ethical and that its ethical character is grounded in our face-to-face relationships. He explores the religious, cultural and political implications of this insight for modern Western culture and how it relates to our conception of selfhood and what it is to be a person, our understanding of the ground of moral values, our experience of time and the meaning of history, and our experience of religious concepts and discourse. Includes an annotated list of recommended readings and a selected bibliography of books by and about Levinas. An excellent introduction to Levinas for readers unfamiliar with his work and even for those without a background in philosophy.
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Cinema and Counter-History

Author: Marcia Landy

Publisher: Indiana University Press

ISBN: 0253016193

Category: Performing Arts

Page: 328

View: 6188

Despite claims about the end of history and the death of cinema, visual media continue to contribute to our understanding of history and history-making. In this book, Marcia Landy argues that rethinking history and memory must take into account shifting conceptions of visual and aural technologies. With the assistance of thinkers such as Gilles Deleuze and Félix Guattari, Cinema and Counter-History examines writings and films that challenge prevailing notions of history in order to explore the philosophic, aesthetic, and political stakes of activating the past. Marshaling evidence across European, African, and Asian cinema, Landy engages in a counter-historical project that calls into question the certainty of visual representations and unmoors notions of a history firmly anchored in truth.
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Deleuze and Film

Author: David Martin-Jones

Publisher: Edinburgh University Press

ISBN: 0748650911

Category: Performing Arts

Page: 248

View: 6541

Engages Deleuze's philosophy with a range of popular films and explores the degree to which a film's popularity impacts upon its ability to 'think' (in the manner that Deleuze described in relation to examples of the art of film in his Cinema books), and
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