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035   $a(UkCbUP)CR9789048550463
035   $a(ScCtBLL)66059240-53df-4e89-a1d4-3302888f0fed
035   $a(oapen)https://directory.doabooks.org/handle/20.500.12854/71279
035   $a(EXLCZ)994100000009587502
100   $a20201022d2019||||  uy         0
101 0 $aeng
135   $aur|||||||||||
181   $ctxt$2rdacontent
182   $cc$2rdamedia
183   $acr$2rdacarrier
200 10$aInventing cinema $emachines, gestures and media history /$fBenoi?t Turquety ; translated by Timothy Barnard
210   $cAmsterdam University Press$d2019
210  1$aAmsterdam :$cAmsterdam University Press,$d2019.
215   $a1 online resource (267 pages) $cdigital, PDF file(s)
225 1 $aCinema and technology
300   $aOriginally published as: Inventer le cine?ma. E?piste?mologie : proble?mes, machines, E?ditions  L'A?ge d'Homme (Lausanne), 2014
300   $aTitle from publisher's bibliographic system (viewed on 20 Nov 2020).
311 1 $a94-6372-462-1 
327   $tFrontmatter --$tTable of Contents --$tAcknowledgements --$tIntroduction: The Problems of Digital Cinema --$t1. The Why and How of Machines --$t2. Invention, Innovation, History --$t3. The Invention of the Problem --$t4. The Invention of the Cinématographe --$t5. 'Natural Colour Kinematography', a New Cinema Invention: Kinemacolor, Technical Network and Commercial Policies --$t6. Epilogue --$tBibliography --$tIndex
330   $aWith machines mediating most of our cultural practices, and innovations, obsolescence and revivals constantly transforming our relation with images and sounds, media feel more unstable than ever. But was there ever a 'stable' moment in media history? Inventing Cinema proposes to approach this question through an archaeology and epistemology of media machines. The archaeology analyses them as archives of users' gestures, as well as of modes of perception. The epistemology reconstructs the problems that the machines' designers and users have strived to solve, and the network of concepts they have elaborated to understand these problems. Drawing on the philosophy of technology and anthropology, Inventing Cinema argues that networks of gestures, problems, perception and concepts are inscribed in vision machines, from the camera obscura to the stereoscope, the Cine?matographe, and digital cinema. The invention of cinema is ultimately seen as an ongoing process irreducible to a single moment in history.
410  0$aCinema and technology (Amsterdam, Netherlands)
606   $aCinematography$xHistory
606   $aCinematography$xEquipment and supplies
606   $aMotion pictures$xHistory
606   $aMotion pictures$xTechnique
606   $aMotion picture projection$xTechnological innovations
606   $aDigital cinematography
610   $aFilm technology, media history, digital cinema, early cinema, media archaeology.
615  0$aCinematography$xHistory.
615  0$aCinematography$xEquipment and supplies.
615  0$aMotion pictures$xHistory.
615  0$aMotion pictures$xTechnique.
615  0$aMotion picture projection$xTechnological innovations.
615  0$aDigital cinematography.
676   $a791
700   $aTurquety$b Benoi?t$0960524
801  0$bUkCbUP
801  1$bUkCbUP
906   $aBOOK
912   $a9910491849003321
996   $aInventing cinema$92177499
997   $aUNINA