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Author: Santiago Hidalgo
Publisher: Film Theory in Media History
ISBN: 9789089647542
Category : Technology in motion pictures
Languages : en
Pages : 0
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Book Description
Cover -- Contents -- Acknowledgments -- Foreword / André Gaudreault -- Introduction: The Discursive Spaces Between a History of Film Technology and Technological Experience / Santiago Hidalgo -- Section I: Experience -- 1. When Did Cinema Become Cinema? Technology, History, and the Moving Pictures / Charles Musser -- 2. Exhibition Practices in Transition: Spectators, Audiences, and Projectors / Jan Olsson -- 3. Reel Changes: Post-mortem Cinephilia or the Resistance of Melancholia / André Habib -- 4. Walter Benjamin’s Play Room: Where the Future So Eloquently Nests, or: What is Cinema Again? / Dana Cooley -- Section II: Study -- 5. Hitchcock, Film Studies, and New Media: The Impact of Technology on the Analysis of Film / David Colangelo -- 6. Film Analysis and Statistics: A Field Report / Charles O’Brien -- 7. A ‘Distant Reading’ of the ‘Chaser Theory’: Local Views and the Digital Generation of New Cinema History / Paul Moore -- Section III: Theory -- 8. Cine-Graphism: A New Approach to the Evolution of Film Language through Technology / Tom Gunning -- 9. Can We Have the Cave and Leave It Too? On the Meaning of Cinema as Technology / Vinzenz Hediger -- 10. On Viewfinders, Video Assist Systems, and Tape Splicers: Questioning the History of Techniques and Technology in Cinema / BenoÃt Turquety -- Index.
Author: Santiago Hidalgo
Publisher: Film Theory in Media History
ISBN: 9789089647542
Category : Technology in motion pictures
Languages : en
Pages : 0
Get Book Here
Book Description
Cover -- Contents -- Acknowledgments -- Foreword / André Gaudreault -- Introduction: The Discursive Spaces Between a History of Film Technology and Technological Experience / Santiago Hidalgo -- Section I: Experience -- 1. When Did Cinema Become Cinema? Technology, History, and the Moving Pictures / Charles Musser -- 2. Exhibition Practices in Transition: Spectators, Audiences, and Projectors / Jan Olsson -- 3. Reel Changes: Post-mortem Cinephilia or the Resistance of Melancholia / André Habib -- 4. Walter Benjamin’s Play Room: Where the Future So Eloquently Nests, or: What is Cinema Again? / Dana Cooley -- Section II: Study -- 5. Hitchcock, Film Studies, and New Media: The Impact of Technology on the Analysis of Film / David Colangelo -- 6. Film Analysis and Statistics: A Field Report / Charles O’Brien -- 7. A ‘Distant Reading’ of the ‘Chaser Theory’: Local Views and the Digital Generation of New Cinema History / Paul Moore -- Section III: Theory -- 8. Cine-Graphism: A New Approach to the Evolution of Film Language through Technology / Tom Gunning -- 9. Can We Have the Cave and Leave It Too? On the Meaning of Cinema as Technology / Vinzenz Hediger -- 10. On Viewfinders, Video Assist Systems, and Tape Splicers: Questioning the History of Techniques and Technology in Cinema / BenoÃt Turquety -- Index.
Author: Jim Cheng
Publisher: Columbia University Press
ISBN: 0231540337
Category : Performing Arts
Languages : en
Pages : 586
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Book Description
Compiled by two skilled librarians and a Taiwanese film and culture specialist, this volume is the first multilingual and most comprehensive bibliography of Taiwanese film scholarship, designed to satisfy the broad interests of the modern researcher. The second book in a remarkable three-volume research project, An Annotated Bibliography for Taiwan Film Studies catalogues the published and unpublished monographs, theses, manuscripts, and conference proceedings of Taiwanese film scholars from the 1950s to 2013. Paired with An Annotated Bibliography for Chinese Film Studies (2004), which accounts for texts dating back to the 1920s, this series brings together like no other reference the disparate voices of Chinese film scholarship, charting its unique intellectual arc. Organized intuitively, the volume begins with reference materials (bibliographies, cinematographies, directories, indexes, dictionaries, and handbooks) and then moves through film history (the colonial period, Taiwan dialect film, new Taiwan cinema, the 2/28 incident); film genres (animated, anticommunist, documentary, ethnographic, martial arts, teen); film reviews; film theory and technique; interdisciplinary studies (Taiwan and mainland China, Taiwan and Japan, film and aboriginal peoples, film and literature, film and nationality); biographical materials; film stories, screenplays, and scripts; film technology; and miscellaneous aspects of Taiwanese film scholarship (artifacts, acts of censorship, copyright law, distribution channels, film festivals, and industry practice). Works written in multiple languages include transliteration/romanized and original script entries, which follow universal AACR-2 and American cataloguing standards, and professional notations by the editors to aid in the use of sources.
Author: Brendan Patrick Riley
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Book Description
ABSTRACT: It suggests that parallel distributed processing provides a model for pedagogy and research, applicable to both classroom and scholarly work. Cinema, Computers, and War explores the relationship between criticism, technology, and modern digital culture. It uses these technologies to invent new methods for film scholarship--not to define film studies in the age of electracy, but to make room for it.
Author: Powers
Publisher: Oxford University Press
ISBN: 019768338X
Category : Performing Arts
Languages : en
Pages : 297
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Book Description
The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonized avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities.
Author: Adelheid Heftberger
Publisher: Springer
ISBN: 303002864X
Category : Social Science
Languages : en
Pages : 311
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Book Description
This book highlights the quantitative methods of data mining and information visualization and explores their use in relation to the films and writings of the Russian director, Dziga Vertov. The theoretical basis of the work harkens back to the time when a group of Russian artists and scholars, known as the “formalists,” developed new concepts of how art could be studied and measured. This book brings those ideas to the digital age. One of the central questions the book intends to address is, “How can hypothetical notions in film studies be supported or falsified using empirical data and statistical tools?” The first stage involves manual and computer-assisted annotation of the films, leading to the production of empirical data which is then used for statistical analysis but more importantly for the development of visualizations. Studies of this type furthermore shed light on the field of visual presentation of time-based processes; an area which has its origin in the Russian formalist sphere of the 1920s and which has recently gained new relevance due to technological advances and new possibilities for computer-assisted analysis of large and complex data sets. In order to reach a profound understanding of Vertov and his films, the manual or computer-assisted data analysis must be combined with film-historical knowledge and a study of primary sources. In addition, the status of the surviving film materials and the precise analysis of these materials combined with knowledge of historical film technology provide insight into archival policy and political culture in the Soviet Union in the 1920s and 30s.
Author: Martin Weller
Publisher: A&C Black
ISBN: 1849666261
Category : Education
Languages : en
Pages : 209
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Book Description
This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. While industries such as music, newspapers, film and publishing have seen radical changes in their business models and practices as a direct result of new technologies, higher education has so far resisted the wholesale changes we have seen elsewhere. However, a gradual and fundamental shift in the practice of academics is taking place. Every aspect of scholarly practice is seeing changes effected by the adoption and possibilities of new technologies. This book will explore these changes, their implications for higher education, the possibilities for new forms of scholarly practice and what lessons can be drawn from other sectors.
Author: Martine Beugnet
Publisher: SIU Press
ISBN: 9780809328567
Category : Art
Languages : en
Pages : 208
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Book Description
"Cinema and Sensation: " "French Film and the Art of Transgression" looks at a much-debated phenomenon in contemporary cinema: the reemergence of filmmaking practices (and, by extension, of theoretical approaches) that give precedence to cinema as the medium of the senses.France offers an intriguing case in point here. A specific sense of momentum comes from the release, in close succession, of a series of films that exemplify a characteristic awareness of cinema s sensory impact and transgressive nature: "Adieu"; "A ma soeur"; "Baise-moi"; "Beau Travail"; "La Blessure"; "La Captive"; "Dans ma peau"; "Demonlover"; "L Humanite"; "Flandres"; "L Intrus"; "Les Invisibles"; "Lady Chatterley"; "Lecons de tenebres"; "Romance"; "Sombre"; "Tiresia"; "Trouble Every Day"; "Twentynine Palms"; "Vendredi soir"; "La Vie nouvelle"; "Wild Side"; and "Zidane, un portrait du XXIeme siecle." These films, among others, typify a willingness to explore cinema s unique capacity to move us both viscerally and intellectually.Martine Beugnet focuses on the crucial and fertile overlaps that occur between experimental and mainstream cinema. Her book draws on the writings of Deleuze, Merleau-Ponty, and Bataille, among others, but first and foremost, she develops her arguments from the films themselves, from the comprehensive description of specific sequences, techniques, and motifs that allows us to engage with the works as material events and as thinking processes. In turn, she demonstrates how the films, envisaged as forms of embodied thought, offer alternative ways of approaching today s most burning sociocultural debatesfrom the growing supremacy of technology, to globalization, exile, and exclusion."
Author: Ariel Rogers
Publisher: Columbia University Press
ISBN: 0231535783
Category : Performing Arts
Languages : en
Pages : 353
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Book Description
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.
Author: André Gaudreault
Publisher: University of Illinois Press
ISBN: 0252078055
Category : Performing Arts
Languages : en
Pages : 226
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Book Description
An important reexamination of early film history, translated from the French for the first time.
Author: Lucia Ricciardelli
Publisher: Routledge
ISBN: 0429939191
Category : Art
Languages : en
Pages : 171
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Book Description
Undergraduate Research in Film: A Guide for Students supplies tools for building research skills, with examples of undergraduate research activities and case studies on projects in the various areas in the study of film, film theory, film production, history of film, and interdisciplinary projects. Professors and students can use it as a text and/or a reference book. Essentially, what makes this volume unique is that it brings together examples of film projects and film studies courses within the framework of research skills. Following an overview chapter, the next seven chapters cover research skills including writing literature reviews, choosing topics and formulating questions,working with human subjects, collecting and analyzing data, citing sources and disseminating results. A wide variety of sub-disciplines follow in chapters 9-16 with sample project ideas from each, as well as undergraduate research conference abstracts. The final chapter is an annotated guide to online resources. All chapters begin with inspiring quotations and end with relevant discussion questions.
