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Cinema's bodily illusions : flying, floating, and hallucinating /

Do contemporary big-budget blockbuster films like Gravity move something in us that is fundamentally the same as what avant-garde and experimental films have done for more than a century? In a powerful challenge to mainstream film theory, "Cinema?s Bodily Illusions" demonstrates that this...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Richmond, Scott C.
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Minneapolis : University of Minnesota Press, 2016.
Temas:
Acceso en línea:Texto completo

MARC

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100 1 |a Richmond, Scott C. 
245 1 0 |a Cinema's bodily illusions :  |b flying, floating, and hallucinating /  |c Scott C. Richmond. 
260 |a Minneapolis :  |b University of Minnesota Press,  |c 2016. 
300 |a 1 online resource 
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504 |a Includes bibliographical references and index. 
505 0 |a Introduction: proprioceptive aesthetics, or the cinema -- The unfinished business of modernism: anemic cinema -- Beyond the infinite, at home in finitude: 2001 -- Ecological phenomenology: Merleau-Ponty and Gibson -- Proprioception, the ocart: Koyaanisqatsi -- The body, unbounded: Gravity -- Aesthetics beyond the The flicker -- Conclusion: the technicity of the cinema. 
588 0 |a Print version record. 
520 8 |a Do contemporary big-budget blockbuster films like Gravity move something in us that is fundamentally the same as what avant-garde and experimental films have done for more than a century? In a powerful challenge to mainstream film theory, "Cinema?s Bodily Illusions" demonstrates that this is the case. Scott C. Richmond bridges genres and periods by focusing, most palpably, on cinema?s power to evoke illusions: feeling like you?re flying through space, experiencing 3D without glasses, or even hallucinating. He argues that cinema is, first and foremost, a technology to modulate perception. He presents a theory of cinema as a proprioceptive technology: cinema becomes art by modulating viewers? embodied sense of space. It works primarily not at the level of the intellect but at the level of the body. Richmond develops his theory through examples of direct perceptual illusion in cinema: hallucinatory flicker phenomena in Tony Conrad?s The Flicker, eerie depth effects in Marcel Duchamp?s Anémic Cinéma, the illusion of bodily movement through onscreen space in Stanley Kubrick?s 2001, Godfrey Reggio?s Koyaanisqatsi, and Alfonso Cuarón?s Gravity. In doing so he combines insights from Maurice Merleau-Ponty?s phenomenology of perception and James J. Gibson?s ecological approach to perception. The result is his distinctive ecological phenomenology, which allows us to refocus on the cinema?s perceptual, rather than representational, power. 
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650 0 |a Perception (Philosophy) 
650 0 |a Motion pictures  |x Psychological aspects. 
650 0 |a Cinematography  |x Special effects. 
650 0 |a Illusion in motion pictures. 
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