01169nam0 22002893i 450 VAN011269520171204085452.5888-15-00100-0920171204d1987 |0itac50 baitaIT|||| |||||Dalla carità sociale allo Stato socialeJens AlberBologna : Il Mulino, 1987342 p.22 cmTraduzione di Hermann Seufert, revisione di Adriano Pappalardo.001VAN00038352001 Studi e ricerche210 BolognaIl mulino.219VAN0112696Vom Armenhaus zum Wohlfahrtsstaat.BolognaVANL000003AlberJensVANV086931120748Il Mulino <editore>VANV107886650ITSOL20230616RICABIBLIOTECA DEL DIPARTIMENTO DI SCIENZE POLITICHE JEAN MONNETIT-CE0182VAN04VAN0112695BIBLIOTECA DEL DIPARTIMENTO DI SCIENZE POLITICHE JEAN MONNET04CONS VI.A.a.174 04OMA1297 20171204 Dalla carità sociale allo Stato sociale1522284UNICAMPANIA03397nam 2200673 450 991081928640332120200520144314.00-231-53578-310.7312/roge15916(CKB)2670000000488806(EBL)1321265(OCoLC)862940454(StDuBDS)EDZ0000744852(DE-B1597)459275(OCoLC)862327426(OCoLC)870891155(DE-B1597)9780231535786(Au-PeEL)EBL1321265(CaPaEBR)ebr10820234(CaONFJC)MIL562380(MiAaPQ)EBC1321265(EXLCZ)99267000000048880620130416h20132013 uy| 0engur||#||||||||rdacontentrdacontentrdamediardacarrierCinematic appeals the experience of new movie technologies /Ariel RogersNew York :Columbia University Press,[2013]©20131 online resource (353 p.)Film and Culture SeriesFilm and cultureDescription based upon print version of record.0-231-15917-X Includes bibliographical references and index.Front matter --Contents --List of Illustrations --Acknowledgments --Introduction: Moving Machines --1. "Smothered in Baked Alaska": The Anxious Appeal of Widescreen Cinema --2. East of Eden in Cinema Scope: Intimacy Writ Large --3. Digital Cinema's Heterogeneous Appeal: Debates on Embodiment, Intersubjectivity, and Immediacy --4. Awe and Aggression: The Experience of Erasure in The Phantom Menace and The Celebration --5. Points of Convergence: Conceptualizing the Appeal of 3D Cinema Then and Now --Notes --Selected Bibliography --Index --Back matterCinematic Appeals follows the effect of technological innovation on the cinema experience, specifically the introduction of widescreen and stereoscopic 3D systems in the 1950's, the rise of digital cinema in the 1990's, 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.Film and cultureFilm and Culture SeriesMotion picture audiencesTechnology in motion picturesCinematographyTechnological innovationsDigital cinematographyMotion picture audiences.Technology in motion pictures.CinematographyTechnological innovations.Digital cinematography.302.23/43Rogers Ariel1663863MiAaPQMiAaPQMiAaPQBOOK9910819286403321Cinematic appeals4021490UNINA