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101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 10$aFramed time$b[electronic resource] $etoward a postfilmic cinema /$fGarrett Stewart
210   $aChicago $cUniversity of Chicago Press$d2007
215   $a1 online resource (311 p.)
225 1 $aCinema and modernity
300   $aDescription based upon print version of record.
311   $a0-226-77416-3 
311   $a0-226-77415-5 
320   $aIncludes bibliographical references (p. 267-282) and index.
327   $tFrontmatter -- $tContents -- $tAcknowledgments -- $tIntroduction : On Optical Allusion -- $t1.Lexeme To Pixel : An Experiment In Narratography -- $t2.Trick Beginnings And The European Uncanny -- $t3. Out Of Body In Hollywood -- $t4. Temportation -- $t5.Vr From Cimnemonics To Digitime -- $t6. Media Archaeology, Hermeneutics, Narratography -- $tAppendix: Precinematics; or, Reading the Narratogram -- $tNotes -- $tTerms -- $tIndex
330   $aItalian director Michelangelo Antonioni claimed, three decades ago, that different conceptions of time helped define the split in film between European humanism and American science fiction. And as Garrett Stewart argues here, this transatlantic division has persisted since cinema's 1995 centenary, made more complex by the digital technology that has detached movies from their dependence on the sequential frames of the celluloid strip.Brilliantly interpreting dozens of recent films-from Being John Malkovich, Donnie Darko, and The Sixth Sense t
410  0$aCinema and modernity.
606   $aMotion pictures
606   $aSpace and time in motion pictures
608   $aElectronic books.
615  0$aMotion pictures.
615  0$aSpace and time in motion pictures.
676   $a791.43/684
700   $aStewart$b Garrett$0552239
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801  1$bMiAaPQ
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906   $aBOOK
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996   $aFramed time$92055540
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