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Record Nr. |
UNINA9910789632803321 |
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Titolo |
Cinema beyond film : media epistemology in the modern era / / edited by François Albera and Maria Tortajada ; [translated by Lance Hewson] [[electronic resource]] |
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Pubbl/distr/stampa |
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Amsterdam : , : Amsterdam University Press, , 2010 |
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ISBN |
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1-283-05019-6 |
9786613050199 |
90-485-0807-X |
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Descrizione fisica |
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1 online resource (271 pages) : digital, PDF file(s) |
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Collana |
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Film culture in transition |
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Disciplina |
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Soggetti |
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Motion pictures - Philosophy |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Title from publisher's bibliographic system (viewed on 29 Jan 2021). |
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Nota di bibliografia |
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Includes bibliographical references (p. [255]-257) and indexes. |
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Nota di contenuto |
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Introduction to an epistemology of viewing and listening dispositives ; The 1900 episteme / François Albera and Maria Tortajada -- Projected cinema : a hypothesis on the cinema's imagination ; The case for an epistemography of montage : the Marey moment / François Albera -- The 'cinematographic snapshot' : rereading Etienne-Jules Marey ; The cinematograph versus photography, or cyclists and time in the work of Alfred Jarry / Maria Tortajada -- Dynamic paths of thought : exhibition design, photography and circulation in the work of Herbert Bayer ; The lecture : Le Corbusier's use of the word, drawing and projection / Olivier Lugon -- Dancing dolls and mechanical eyes : tracking an obsessive motive from balet to cinema / Laurent Guido -- From broadcast performance to virtual show : television's tennis dispositive / Laurent Guido -- The lecturer, the image, the machine and the audio-spectator : the voice as a component part of audiovisual dispositives / Alain Boillat -- On the singular status of the human voice : Tomorrow's eve and the cultural series of talking machines / Alain Boillat. |
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Sommario/riassunto |
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Cinema Beyond Film elaborates on the theoretical uses of two key terms' dispositif and episteme in order to examine their relationship as well as their larger connections to film, technology, and modernity. Although both terms originate in the work of Foucault, dispositif ('deviceƒ') intrinsically links itself to the mechanics of movement and |
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speed behind cinematics, while more generally referring to the mechanisms and structures that hold power in place. Episteme('to know'), on the other hand, refers to the conditions and possibilities of knowledge and reception, more than to technological innovation. Each term is explored here in relation to the other, allowing this edited collection to assess the wide array of potential materialities that arise from the mechanics behind cinema and the changing face of its technology. |
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