03003nam 2200721 a 450 991096531280332120200520144314.09786611966577978128196657512819665769780226774572022677457010.7208/9780226774572(CKB)1000000000579457(EBL)408283(OCoLC)476228404(SSID)ssj0000157824(PQKBManifestationID)11163987(PQKBTitleCode)TC0000157824(PQKBWorkID)10145162(PQKB)10110033(MiAaPQ)EBC408283(DE-B1597)524524(OCoLC)1058370198(DE-B1597)9780226774572(Au-PeEL)EBL408283(CaPaEBR)ebr10266040(CaONFJC)MIL196657(Perlego)1842543(EXLCZ)99100000000057945720060919d2007 uy 0engur|n|---|||||txtccrFramed time toward a postfilmic cinema /Garrett Stewart1st ed.Chicago University of Chicago Press20071 online resource (311 p.)Cinema and modernityDescription based upon print version of record.9780226774169 0226774163 9780226774152 0226774155 Includes bibliographical references (p. 267-282) and index.Frontmatter -- Contents -- Acknowledgments -- Introduction : On Optical Allusion -- 1.Lexeme To Pixel : An Experiment In Narratography -- 2.Trick Beginnings And The European Uncanny -- 3. Out Of Body In Hollywood -- 4. Temportation -- 5.Vr From Cimnemonics To Digitime -- 6. Media Archaeology, Hermeneutics, Narratography -- Appendix: Precinematics; or, Reading the Narratogram -- Notes -- Terms -- IndexItalian director Michelangelo Antonioni claimed, three decades ago, that different conceptions of time helped define the split in film between European humanism and American science fiction. And as Garrett Stewart argues here, this transatlantic division has persisted since cinema's 1995 centenary, made more complex by the digital technology that has detached movies from their dependence on the sequential frames of the celluloid strip.Brilliantly interpreting dozens of recent films-from Being John Malkovich, Donnie Darko, and The Sixth Sense tCinema and modernity.Motion picturesSpace and time in motion picturesMotion pictures.Space and time in motion pictures.791.43/684Stewart Garrett552239MiAaPQMiAaPQMiAaPQBOOK9910965312803321Framed time4359078UNINA