LEADER 03216nam 2200589 450 001 9910795843603321 005 20230627215422.0 010 $a94-006-0430-0 024 7 $a10.1515/9789400604308 035 $a(MiAaPQ)EBC7043210 035 $a(Au-PeEL)EBL7043210 035 $a(CKB)24242659500041 035 $a(OCoLC)1336703105 035 $a(MdBmJHUP)musev2_101729 035 $a(DE-B1597)635249 035 $a(DE-B1597)9789400604308 035 $a(OCoLC)1338837937 035 $a(EXLCZ)9924242659500041 100 $a20230627d2022 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aCamering $eFernand Deligny on cinema and the image /$fintroduced and edited by Marlon Miguel ; translated by Sarah Moses ; postface by Elena Vogman 210 1$a[Place of publication not identified] :$cLeiden University Press,$d[2022] 210 4$dİ2022 215 $a1 online resource (251 pages) 225 1 $aMedia / Art / Politics Series ;$vVolume 3 300 $aIn meegestuurde metadata aangekondigd met ISBN 9789087283841. 300 $aVertaald uit het Frans. 311 08$aPrint version: Miguel, Marlon Camering Amsterdam : Amsterdam University Press,c2022 327 $tFrontmatter -- $tContents -- $tEpigraph [1996] -- $tTranslator?s Note -- $tGeneral Introduction -- $tCinema. Cine-Club [1934] -- $tThe Camera, a Pedagogical Tool [1955] -- $tHe?s Still One of Us [1971] -- $tCamering [1977] -- $tMiscreating [1979] -- $tCamering [1982] -- $tThe Alga and the Fungus [1982] -- $tFossils Have a Hard Life: Apropos of the Image [1982] -- $tCamering [1978-1983] -- $tThe Distinctiveness of the IMAGEs [1988] -- $tWhat Is Not Seen (by the Self) [1990] -- $tPostface. Minor Gestures, Minor Media -- $tNotes 330 $aFernand Deligny (1913-1996), ?poet and ethologist?, is mostly known for his work with autistic children and for his influence on the revolutions in French post-war psychiatry. Though neither director nor a theorist of the image, cinema is constantly called into his social, pedagogical, and clinical experimentations. More interested in the processes of making, he distinguishes ?camering? from filming, thus emphasizing not the finished film but a ?film to come?. This volume provides Deligny?s essential corpus on cinema and the image. It shows both the role of cameras in many of his experimental ?attempts? with delinquents and autistic children and his highly speculative reflections on image. 410 0$aMedia / Art / Politics ;$vVolume 3. 606 $aFilm criticism 606 $aDocumentary films$zFrance 610 $aDeligny, cinema, image, radical psychiatry, French theory, media. 615 0$aFilm criticism. 615 0$aDocumentary films 676 $a371.9 700 $aMiguel$b Marlon, $4aut$4http://id.loc.gov/vocabulary/relators/aut$01276490 702 $aMiguel$b Marlon 702 $aMoses$b Sarah 702 $aVogman$b Elena 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910795843603321 996 $aCamering$93762274 997 $aUNINA