Inventing Cinema
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| Author | : Lee Grieveson |
| Publisher | : Duke University Press |
| Total Pages | : 481 |
| Release | : 2008-11-24 |
| Genre | : Performing Arts |
| ISBN | : 0822388677 |
Inventing Film Studies offers original and provocative insights into the institutional and intellectual foundations of cinema studies. Many scholars have linked the origins of the discipline to late-1960s developments in the academy such as structuralist theory and student protest. Yet this collection reveals the broader material and institutional forces—both inside and outside of the university—that have long shaped the field. Beginning with the first investigations of cinema in the early twentieth century, this volume provides detailed examinations of the varied social, political, and intellectual milieus in which knowledge of cinema has been generated. The contributors explain how multiple instantiations of film study have had a tremendous influence on the methodologies, curricula, modes of publication, and professional organizations that now constitute the university-based discipline. Extending the historical insights into the present, contributors also consider the directions film study might take in changing technological and cultural environments. Inventing Film Studies shows how the study of cinema has developed in relation to a constellation of institutions, technologies, practices, individuals, films, books, government agencies, pedagogies, and theories. Contributors illuminate the connections between early cinema and the social sciences, between film programs and nation-building efforts, and between universities and U.S. avant-garde filmmakers. They analyze the evolution of film studies in relation to the Museum of Modern Art, the American Film Council movement of the 1940s and 1950s, the British Film Institute, influential journals, cinephilia, and technological innovations past and present. Taken together, the essays in this collection reveal the rich history and contemporary vitality of film studies. Contributors: Charles R. Acland, Mark Lynn Anderson, Mark Betz, Zoë Druick, Lee Grieveson, Stephen Groening, Haden Guest, Amelie Hastie, Lynne Joyrich, Laura Mulvey, Dana Polan, D. N. Rodowick, Philip Rosen, Alison Trope, Haidee Wasson, Patricia White, Sharon Willis, Peter Wollen, Michael Zryd
| Author | : Benoît Turquety |
| Publisher | : Amsterdam University Press |
| Total Pages | : 269 |
| Release | : 2019-10-04 |
| Genre | : Art |
| ISBN | : 9048550467 |
With machines mediating most of our cultural practices, and innovations, obsolescence and revivals constantly transforming our relation with images and sounds, media feel more unstable than ever. But was there ever a "stable" moment in media history? Inventing Cinema proposes to approach this question through an archaeology and an epistemology of media machines. The archaeology analyses them as archives of users' gestures, as well as of modes of perception. The epistemology reconstructs the problems that the machines' designers and users have strived to solve, and the network of concepts they have elaborated to understand these problems. Drawing on the philosophy of technology and anthropology, Inventing Cinema argues that networks of gestures, problems, perception and concepts are inscribed in vision machines, from the camera obscura to the stereoscope, the Cinématographe, and digital cinema. The invention of cinema is ultimately seen as an ongoing process irreducible to a single moment in history.
| Author | : André Gaudreault |
| Publisher | : University of Illinois Press |
| Total Pages | : 226 |
| Release | : 2011 |
| Genre | : Performing Arts |
| ISBN | : 0252078055 |
An important reexamination of early film history, translated from the French for the first time.
| Author | : Michael Betancourt |
| Publisher | : Routledge |
| Total Pages | : 280 |
| Release | : 2019-08-13 |
| Genre | : Art |
| ISBN | : 0429534302 |
This book explores the question of realism in motion pictures. Specifically, it explores how understanding the role of realism in the history of title sequences in film can illuminate discussions raised by the advent of digital cinema. Ideologies of the Real in Title Sequences, Motion Graphics and Cinema fills a critical and theoretical void in the existing literature on motion graphics. Developed from careful analysis of André Bazin, Stanley Cavell, and Giles Deleuze’s approaches to cinematic realism, this analysis uses title sequences to engage the interface between narrative and non-narrative media to consider cinematic realism in depth through highly detailed close readings of the title sequences for Bullitt (1968), Kolchak: The Night Stalker (1974), The Number 23 (2007), The Kingdom (2008), Blade Runner: 2049 (2017) and the James Bond films. From this critique, author Michael Betancourt develops a modal approach to cinematic realism where ontology is irrelevant to indexicality. His analysis shows the continuity between historical analogue film and contemporary digital motion pictures by developing a framework for rethinking how realism shapes interpretation.
| Author | : David Barry |
| Publisher | : Andrews UK Limited |
| Total Pages | : 264 |
| Release | : 2023-12-12 |
| Genre | : Performing Arts |
| ISBN | : 183791513X |
Do you love cinema and want to know more about its history? Are you a film fan looking for an informative yet light-hearted review of the last one hundred and thirty years of the silver screen? If so, you've found what you're looking for! In this book, TV and movie star David Barry takes us on a journey through the history of cinema, from the silent movies at the time of the birth of the industry all the way up to today's CGI-fuelled blockbusters. The author guides us through this huge subject in an easy-to-follow fashion, with amusing facts and hilarious anecdotes peppered throughout the book. Quotes from some of the movie world's best-known lines of dialogue are used to illustrate the narrative, and some amazing trivia is supplied, enabling the reader to impress their friends and acquaintances with little-known geek-level movie facts. With something here for everyone, you'll never be at a loss when answering - or even setting - quiz questions! Whether you're already a movie-buff with plenty of knowledge, or a film fan seeking an understanding of how we got to where we are today, this is the perfect book for you.
| Author | : Ian Christie |
| Publisher | : University of Chicago Press |
| Total Pages | : 355 |
| Release | : 2019-12-09 |
| Genre | : Performing Arts |
| ISBN | : 0226105636 |
The early years of film were dominated by competition between inventors in America and France, especially Thomas Edison and the Lumière brothers . But while these have generally been considered the foremost pioneers of film, they were not the only crucial figures in its inception. Telling the story of the white-hot years of filmmaking in the 1890s, Robert Paul and the Origins of British Cinema seeks to restore Robert Paul, Britain’s most important early innovator in film, to his rightful place. From improving upon Edison’s Kinetoscope to cocreating the first movie camera in Britain to building England’s first film studio and launching the country’s motion-picture industry, Paul played a key part in the history of cinema worldwide. It’s not only Paul’s story, however, that historian Ian Christie tells here. Robert Paul and the Origins of British Cinema also details the race among inventors to develop lucrative technologies and the jumbled culture of patent-snatching, showmanship, and music halls that prevailed in the last decade of the nineteenth century. Both an in-depth biography and a magnificent look at early cinema and fin-de-siècle Britain, Robert Paul and the Origins of British Cinema is a first-rate cultural history of a fascinating era of global invention, and the revelation of one of its undervalued contributors.
| Author | : Christian Quendler |
| Publisher | : Taylor & Francis |
| Total Pages | : 263 |
| Release | : 2016-11-18 |
| Genre | : Performing Arts |
| ISBN | : 1317434196 |
This book explores the cultural, intellectual, and artistic fascination with camera-eye metaphors in film culture of the twentieth century. By studying the very metaphor that cinema lives by, it provides a rich and insightful map of our understanding of cinema and film styles and shows how cinema shapes our understanding of the arts and media. As current new media technologies are attempting to shift the identity of cinema and moving imagery, it is hard to overstate the importance of this metaphor for our understanding of the modalities of vision. In what guises does the "camera eye" continue to survive in media that is called new?
| Author | : Alain Badiou |
| Publisher | : John Wiley & Sons |
| Total Pages | : 268 |
| Release | : 2013-09-25 |
| Genre | : Social Science |
| ISBN | : 0745670024 |
For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking. What is the subject to which the film gives expressive form? This is the question that lies at the heart of Badiou’s account of cinema. He contends that cinema is an art form that bears witness to the Other and renders human presence visible, thus testifying to the universal value of human existence and human freedom. Through the experience of viewing, the movement of thought that constitutes the film is passed on to the viewer, who thereby encounters an aspect of the world and its exaltation and vitality as well as its difficulty and complexity. Cinema is an impure art cannibalizing its times, the other arts, and people – a major art precisely because it is the locus of the indiscernibility between art and non-art. It is this, argues Badiou, that makes cinema the social and political art par excellence, the best indicator of our civilization, in the way that Greek tragedy, the coming-of-age novel and the operetta were in their respective eras.
| Author | : Alessandro Rocco |
| Publisher | : Boydell & Brewer Ltd |
| Total Pages | : 230 |
| Release | : 2014 |
| Genre | : Literary Criticism |
| ISBN | : 1855662833 |
This book focuses on Gabriel Garcia Marquez's relations with the world of cinema. Far from being an occasional occupation, García Márquez's film work forms an intrinsic part of his overall aesthetic and literary poetics. The book's primary aim is to present a detailed study of Garcia Márquez's wide-ranging filmography, which has never received a comprehensive, systematic analysis. Rocco argues that it should be recognised as an integral part of the author's narrative output, and brought into the mainstream of studies concerning his literary activity. The first part of the book reconstructs the trajectory of Garcia Marquez's career in cinema and his connections with the world of film. The second part looks at all the screenplays written by García Márquez on which actual films have been based. These are examined chronologically, but also analysed according to thematic and aesthetic concerns and placed in relation to the novels and short stories with which they are 'twinned' in terms of the film product. Book jacket.
| Author | : Joanna Page |
| Publisher | : Duke University Press |
| Total Pages | : 248 |
| Release | : 2009-05-22 |
| Genre | : Performing Arts |
| ISBN | : 0822390752 |
There has been a significant surge in recent Argentine cinema, with an explosion in the number of films made in the country since the mid-1990s. Many of these productions have been highly acclaimed by critics in Argentina and elsewhere. What makes this boom all the more extraordinary is its coinciding with a period of severe economic crisis and civil unrest in the nation. Offering the first in-depth English-language study of Argentine fiction films of the late twentieth century and early twenty-first, Joanna Page explains how these productions have registered Argentina’s experience of capitalism, neoliberalism, and economic crisis. In different ways, the films selected for discussion testify to the social consequences of growing unemployment, rising crime, marginalization, and the expansion of the informal economy. Page focuses particularly on films associated with New Argentine Cinema, but she also discusses highly experimental films and genre movies that borrow from the conventions of crime thrillers, Westerns, and film noir. She analyzes films that have received wide international recognition alongside others that have rarely been shown outside Argentina. What unites all the films she examines is their attention to shifts in subjectivity provoked by political or economic conditions and events. Page emphasizes the paradoxes arising from the circulation of Argentine films within the same global economy they so often critique, and she argues that while Argentine cinema has been intent on narrating the collapse of the nation-state, it has also contributed to the nation’s reconstruction. She brings the films into dialogue with a broader range of issues in contemporary film criticism, including the role of national and transnational film studies, theories of subjectivity and spectatorship, and the relationship between private and public spheres.
