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Film history as media archaeology : tracking digital cinema /
Since cinema has entered the digital era, its very nature has come under renewed scrutiny. Countering the "death of cinema" debate, Film History as Media Archaeology presents a robust argument for cinema's current status as a new epistemological object of interest to philosophers, wh...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Amsterdam :
Amsterdam University Press,
[2016]
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| Colección: | Film culture in transition ;
50. |
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Cover; Contents; Acknowledgements; General Introduction; Media Archaeology: Foucault's Legacy; Film History as Media Archaeology; Is Media Archaeology a Supplement to or a Substitute for Film History?; Walter Benjamin and the Modernity Thesis; Noël Burch and "Primitive Cinema'; The Legacy of Michel Foucault; Media Archaeology by Default as well as by Design; Media Archaeology and the Digital Turn; Four Dominant Approaches; Media Archaeology and the Museum World; The Amsterdam Media Archaeology Network; The Deep Time of Media, or the Place of Cinema in (Media) History.
- The Archive: Crises in History and MemoryThe Crisis in Narrative: Transmedia Studies and Participatory Culture; The Limits of Media Archaeology; I
- Early Cinema; 1. Film History as Media Archaeology; Introduction; Early Cinema as Key to the New Media Paradigms?; The Cinema of Attractions: Early Cinema, Avant-garde, Post-Classical, and Digital Media; Media Archaeology I: Film History between Teleologies and Retroactive Causalities; Media Archaeology II: Family Tree or Family Resemblance?; Media Archaeology III: What is Cinema, Where is Cinema, and When is Cinema?
- 2. The Cinematic Dispositif (Between Apparatus Theory and Artists' Cinema); "M" is for Media Archaeology; The Dispositif Cinema: Conditions of Possibility, Definitions; The Cinematic Apparatus Between High Theory and Media Archaeology; Dispositif Mark 1: What was Cinema?; Dispositif Mark 2: Early Cinema; Dispositif Mark 3: Installation Art and the Moving Image; Dispositif Mark 4: Encounter and Event; The Dispositif as Interface?; Vanishing Points: Infinity versus Ubiquity; II
- The Challenge of Sound; 3. Going 'Live'; Body and Voice in Some Early German Sound Films.
- A System of Double Address; Das Lied einer Nacht: Modernism versus Modernization; Horror Vacui or Ontological Vertigo?; Radio and Cinema; Going Live as Staying Alive; 4. The Optical Wave; Walter Ruttmann in 1929; The Film Industry and Avant-garde; International Cooperation against National Profiling; Painting with Time: Ruttmann and the Physiognomy of the Curve; a"Sound film is the topic of the day"--the pivotal years: 1929-30; 1929 Melodie der Welt; The Film Author and the Commission: Ruttmann and the Industry; Ruttmann Believes It; III
- Archaeologies of Interactivity.
- 5. Archaeologies of Interactivity; The "Rube" as Symptom of Media Change; Attention
- Problem or Solution?; The Rube Films: Towards a Theory of Embedded Attention; The (Extra-)Diegetic Spaces of Early Cinema; The Return of the Rube; Towards a New Reflexivity; 6. Constructive Instability; or: The Life of Things as Cinema's Afterlife?; Here-Me-Now; Constructive Instability; Performed Failure: Narratives of Collapse; The Honda Cog; Der Lauf der Dinge; Around the World in Eighty Clicks; Cluster and Forking Path "Rube Goldberg"; Cluster and Forking Path "Pythagoras Switch"
- Cluster and Forking Path "Domino Day" and Celebrity TV.