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Cinema Against Spectacle : Technique and Ideology Revisited
Jean-Louis Comolli's six-part essay Technique and Ideology had a revolutionary effect on film theory and history when it first appeared in Cahiers du Cinema in 1971. In 2009, Comolli revisited his earlier text, arguing that the present age, marked by the total dominance of media-filtered specta...
| Autor principal: | |
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| Formato: | Electrónico eBook |
| Idioma: | Inglés Francés |
| Publicado: |
[Place of publication not identified] :
Amsterdam University Press,
2015.
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| Colección: | Book collections on Project MUSE.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Comolli, Jean-Louis. |4 aut | |
| 245 | 1 | 0 | |a Cinema Against Spectacle : |b Technique and Ideology Revisited |
| 264 | 1 | |a [Place of publication not identified] : |b Amsterdam University Press, |c 2015. | |
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| 264 | 4 | |c ©2015. | |
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| 490 | 0 | |a Film theory in media history | |
| 490 | 0 | |a Knowledge Unlatched | |
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| 505 | 0 | |a Cinema against Spectacle -- Introduction -- Cinema against Spectacle -- I. Opening the Window? -- II. Inventing the Cinema? -- III. Filming the Disaster? -- IV. Cutting the Figure? -- V. Changing the Spectator? -- Technique and Ideology: Camera, Perspective, Depth of Field -- Introduction -- I. On a Dual Origin -- The ideological place of the "base apparatus" -- Birth = deferral: The invention of the cinema -- II. Depth of Field: The Double Scene -- Bazin's "surplus realism" -- The work of "transparency" -- For a materialist history of the cinema -- "For the first time ..." -- III."Primitive" Depth of Field -- IV. Effacement of Depth/Advent of Speech -- V. Which Speech? | |
| 506 | 0 | |a Open Access |f Unrestricted online access |2 star | |
| 520 | |a Jean-Louis Comolli's six-part essay Technique and Ideology had a revolutionary effect on film theory and history when it first appeared in Cahiers du Cinema in 1971. In 2009, Comolli revisited his earlier text, arguing that the present age, marked by the total dominance of media-filtered spectacle over image production, makes the need for an 'emancipated, critical spectator' more pressing than ever. In this volume, Daniel Fairfax presents annotated translations of these two texts to provide an overview of Comolli's activity as both a theorist and a filmmaker. | ||
| 546 | |a English. | ||
| 588 | |a Description based on print version record. | ||
| 650 | 7 | |a Motion pictures |x Philosophy. |2 fast |0 (OCoLC)fst01027348 | |
| 650 | 7 | |a Performing Arts / Film / History & Criticism. |2 bisacsh | |
| 650 | 7 | |a The arts. |2 bicssc | |
| 650 | 7 | |a Films, cinema. |2 bicssc | |
| 650 | 7 | |a Film, TV and radio. |2 bicssc | |
| 650 | 7 | |a Film theory and criticism. |2 bicssc | |
| 650 | 0 | |a Motion pictures |x Philosophy. | |
| 655 | 7 | |a Electronic books. |2 local | |
| 710 | 2 | |a Project Muse. |e distributor | |
| 830 | 0 | |a Book collections on Project MUSE. | |
| 856 | 4 | 0 | |z Texto completo |u https://projectmuse.uam.elogim.com/book/103212/ |