1.

Record Nr.

UNINA9910140493203321

Autore

Comolli Jean-Louis

Titolo

Cinema against spectacle [[electronic resource] ] : technique and ideology revisited / / by Jean-Louis Comolli ; translated and edited by Daniel Fairfax

Pubbl/distr/stampa

Amsterdam University Press, 2015

Amsterdam : , : Amsterdam University Press, , [2015]

©2015

ISBN

90-485-1945-4

Descrizione fisica

1 online resource (345 pages) : illustrations; digital, PDF file(s).

Collana

Open Access e-Books

Knowledge Unlatched

Film theory in media history

Disciplina

791.4

Soggetti

Motion pictures - Philosophy

Lingua di pubblicazione

Inglese

Formato

Materiale a stampa

Livello bibliografico

Monografia

Note generali

"Originally published as : Cinema, contre spectacle, Jean-Louis Comolli ;©Editions VERDIER, 2009".

Nota di bibliografia

Includes bibliographical references, filmography and index.

Nota di contenuto

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?.

Sommario/riassunto

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 Cinéma 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.