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Temporality in American Filmic Autobiography : Cinema, Automediality and Grammatology with 'Film Portrait' and 'Joyce at 34'.
Drawing on grammatology, historical semantics and discourse theory, Temporality in American Filmic Autobiography treats automediality in semiotic materiality and transmediality as processuality and relationality of agency at an intersection of auto/biography studies, film studies and media studies,...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Heidelberg :
Universitätsverlag Winter,
2018.
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| Colección: | American Studies - A Monograph Series.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Cover; Titel; Imprint; Contents; Acknowledgements; Preface; List of Tables and Figures; 1 World Provenance of Cinematic Autobiography in Selected Anglophone Research of 1977 to 2014; 2 Provenance by Country of Cinematic Autobiography by Decade in Selected Anglophone Research of 1977 to 2014 (Synopsis of Table 1); 3 Cinema and Selected Time Vocabularies (Synopsis); 4 A-Series vs. B-Series after John M.E. McTaggart (Gell1992, 157); 5 Synopsis of Data on Segment Durations in Selected Filmic Autobiographies; 6 Segment Durations in Selected Filmic Autobiographies.
- 1 Two Cameras in „Playing the Part" (Film Still)2 Mounted Photograph in „Playing the Part" (Film Still); 3 Scratched and Perforated Film in „Dog Star Man" (1961-1964) (Film Still); 4 Infant Sarah at the Editing Table with Her Mother in „Joyce at 34" (Film Still); 5 Infant Sarah Fed by Her Father at Work with a Screenwriting Collaborator in „Joyce at 34" (Film Still); 6 to 9 Weill Negotiating Participants, Camera, Microphone and Airport Walk in „Joyce at 34" (Film Stills); 10 Hill with Oakes and Camera on Tripod at Cassis in1950 in „Film Portrait" (Film Still)
- 11 Hill with Oakes and Camera on Tripod at Cassis in 1970 in „Film Portrait" (Film Still)12 to 14 Stairway at Cassis in 1930, 1950 and 1970 in „Film Portrait" (Film Stills); 15 Train at La Ciotat Station in 1895 from the Lumières' „L'Arrivée dún Train à La Ciotat" quoted in „Film Portrait" (Film Still); 16 Train at La Ciotat Station in 1970 in „Film Portrait" (Film Still); 17 Segments of Nine of the Filmmaker's Films with Simultaneous Movement by Split-Screen Device in „Film Portrait" (Film Still); 18 The Filmmaker at the Editing Table in „Film Portrait"(Film Still)
- 19 „A Scholar in His Study ('Faust')", Etching by Rembrandt,c. 1652, The Metropolitan Museum of Art, New York, Online Catalogue (Photographic Reproduction)20 Superimposition of Image of Etching by Rembrandt and Image of Filmmaker at Editing Table in „Film Portrait"(Film Still); 21 Completed Transformation into the Filmmaker at the Editing Table in „Film Portrait" (Film Still); 22 Sarah Pushing the Chair in „Joyce at 34" (Film Still); 23 Seder Ceremony in „Joyce at 34" (Film Still); 24 Protagonist in Nightgown before Mirror in „Joyce at 34" (Film Still)
- 25 Protagonist Musing on a Couch in „Joyce at 34" (FilmStill)26 Protagonist on a Filming Location in „Joyce at 34" (FilmStill); 27 Double Female Gaze after Keyssar in „Joyce at 34" (Film Still); 28 Chopra and Cole (left) after Birth of Sarah Rose Cole (Held by Obstetrician) in „Joyce at 34" (Film Still); 29 Animated Collage Sequence of View Through Train Window in „Film Portrait" (Film Still); 30 Hand-Colored Image of Water Whirl Used for Reverse Motion in „Film Portrait" (Film Still)