The Tactile Eye
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The Tactile Eye
Author | : Jennifer M. Barker |
Publsiher | : Univ of California Press |
Total Pages | : 212 |
Release | : 2009-05-27 |
Genre | : Performing Arts |
ISBN | : 0520943902 |
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The Tactile Eye expands on phenomenological analysis and film theory in its accessible and beautifully written exploration of the visceral connection between films and their viewers. Jennifer M. Barker argues that the experience of cinema can be understood as deeply tactile—a sensuous exchange between film and viewer that goes beyond the visual and aural, gets beneath the skin, and reverberates in the body. Barker combines analysis of embodiment and phenomenological film theory to provide an expansive description of cinematic tactility. She considers feminist experimental film, early cinema, animation, and horror, as well as classic, modernist, and postmodern cinema; films from ten national cinemas; and work by Chuck Jones, Buster Keaton, the Quay Brothers, Satyajit Ray, Carolee Schneemann, and Tom Tykwer, among others.
Tactile Poetics
Author | : Sarah Jackson |
Publsiher | : Edinburgh University Press |
Total Pages | : 176 |
Release | : 2015-06-07 |
Genre | : Literary Criticism |
ISBN | : 9780748685332 |
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A new critical perspective on the relationship between text and tact in 20th- and 21st-century literature and theory
The Best Laid Plans
Author | : Jim Leach,Jeannette Sloniowski |
Publsiher | : Wayne State University Press |
Total Pages | : 320 |
Release | : 2017-12-04 |
Genre | : Performing Arts |
ISBN | : 9780814342251 |
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Explores the significance of the heist film genre.
Cinematic Poetics of Guilt
Author | : Matthias Grotkopp |
Publsiher | : Walter de Gruyter GmbH & Co KG |
Total Pages | : 279 |
Release | : 2021-01-18 |
Genre | : Social Science |
ISBN | : 9783110611298 |
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How do the temporal and dynamic patterns of media forms and practices create complex constructions of meaning, identity and value? How can we describe the way cinematic images generate and transform the affectively grounded structures that survey, confirm or revise a political community’s horizon of values? Using the exemplary case of feelings of guilt, the author develops an approach that makes patterns of audiovisual compositions intelligible as aesthetic modulations of moral feelings. A sense of guilt is presented here as neither an individualistic psychological emotion nor an external social mechanism of control but as a paradigmatic case for understanding politics and history as based upon embodied affectivity and shared relations to the world. By taking three distinct examples – German Post-War cinema, Hollywood Western and films on climate change – patterns of audiovisual composition and the inherent calculation of affect are analyzed as practices shaping the conditions of possibility of political communities and their historicity.
Understanding Media Today
Author | : Matteo Ciastellardi,Emanuela Patti |
Publsiher | : Editorial UOC |
Total Pages | : 691 |
Release | : 2011-12-01 |
Genre | : Social Science |
ISBN | : 9788493880255 |
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Understanding Media, Today. McLuhan in the Era of Convergence Culture
Commodifying Violence in Literature and on Screen
Author | : Alejandro Herrero-Olaizola |
Publsiher | : Routledge |
Total Pages | : 163 |
Release | : 2021-10-18 |
Genre | : Literary Criticism |
ISBN | : 9781000450811 |
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This book traverses the cultural landscape of Colombia through in-depth analyses of displacement, local and global cultures, human rights abuses, and literary and media production. Through an exploration of the cultural processes that perpetuate the "darker side" of Latin America for global consumption, it investigates the "condition" that has led writers, filmmakers, and artists to embrace (purposefully or not) the incessant violence in Colombian society as the object of their own creative endeavors. In this examination of mass-marketed cultural products such as narco-stories, captivity memoirs, gritty travel narratives, and films, Herrero-Olaizola seeks to offer a hemispheric approach to the role played by Colombia in cultural production across the continent where the illicit drug trade has made significant inroads. To this end, he identifies the "Colombian condition" within the parameters of the global economy while concentrating on the commodification of Latin America’s violence for cultural consumption. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.
Cine Ethics
Author | : Jinhee Choi,Mattias Frey |
Publsiher | : Routledge |
Total Pages | : 266 |
Release | : 2013-10-15 |
Genre | : Performing Arts |
ISBN | : 9781136745966 |
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This volume looks at the significance and range of ethical questions that pertain to various film practices. Diverse philosophical traditions provide useful frameworks to discuss spectators’ affective and emotional engagement with film, which can function as a moral ground for one’s connection to others and to the world outside the self. These traditions encompass theories of emotion, phenomenology, the philosophy of compassion, and analytic and continental ethical thinking and environmental ethics. This anthology is one of the first volumes to open up a dialogue among these diverse methodologies. Contributors bring to the fore some of the assumptions implicitly shared between these theories and forge a new relationship between them in order to explore the moral engagement of the spectator and the ethical consequences of both producing and consuming films
Cinema s Bodily Illusions
Author | : Scott C. Richmond |
Publsiher | : U of Minnesota Press |
Total Pages | : 276 |
Release | : 2016-10-15 |
Genre | : Performing Arts |
ISBN | : 9781452951874 |
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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. Arguing against modernist habits of mind in film theory and aesthetics, and the attendant proclamations of cinema’s death or irrelevance, Richmond demonstrates that cinema’s proprioceptive aesthetics make it an urgent site of contemporary inquiry.