LEADER 04114nam 22007215 450 001 9910809158103321 005 20210715030548.0 010 $a0-8232-8347-X 010 $a0-8232-8359-3 024 7 $a10.1515/9780823283590 035 $a(CKB)4100000007817685 035 $a(MiAaPQ)EBC5739522 035 $a(OCoLC)1090682546 035 $a(MdBmJHUP)muse72757 035 $a(DE-B1597)555419 035 $a(DE-B1597)9780823283590 035 $a(EXLCZ)994100000007817685 100 $a20200723h20192019 fg 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe Supermarket of the Visible $eToward a General Economy of Images /$fPeter Szendy 210 1$aNew York, NY :$cFordham University Press,$d[2019] 210 4$dİ2019 215 $a1 online resource (175 pages) 225 0 $aThinking Out Loud 311 0 $a0-8232-8358-5 327 $tFront matter --$tContents --$tone. Money, or The Other Side of Images --$ttwo. The Point of (No) Exchange, or The Debt- Image --$tthree. Innervation, or The Gaze of Capital --$tMerchandise --$tDeleted Scenes --$tDeleted Scenes --$tPhoto Gallery --$tLocations --$tDeleted Scene --$tDeleted Scenes --$tDeleted Scenes --$tFormats --$tCredits --$tNotes --$tIndex 330 $aAlready in 1929, Walter Benjamin described ?a one hundred per cent image-space.? Such an image space saturates our world now more than ever, constituting the visibility in which we live. The Supermarket of the Visible analyzes this space and the icons that populate it as the culmination of a history of the circulation and general commodification of images and gazes. From the first elevators and escalators (tracking shots avant la lettre) to cinema (the great conductor of gazes), all the way down to contemporary eye-tracking techniques that monitor the slightest saccades of our eyes, Peter Szendy offers an entirely novel theory of the intersection of the image and economics. The Supermarket of the Visible elaborates an economy proper to images, icons, in other words, an iconomy. Deleuze caught a glimpse of this when he wrote that ?money is the back side of all the images that cinema shows and edits on the front.? Since ?cinema,? for Deleuze, is synonymous with ?universe,? Szendy argues that this sentence must be understood in its broadest dimension and that a reading of key works in the history of cinema allows us a unique vantage point upon the reverse of images, their monetary implications. Paying close attention to sequences in Hitchcock, Bresson, Antonioni, De Palma, and The Sopranos, Szendy shows how cinema is not a uniquely commercial art form among other, purer arts, but, more fundamentally, helps to elaborate what might be called, with Bataille, a general iconomy.Moving deftly and lightly between political economy, aesthetic theory, and popular movies and television, The Supermarket of the Visible will be a necessary book for anyone concerned with media, philosophy, politics, or visual culture. 410 0$aThinking out loud. 606 $aMotion pictures$xEconomic aspects 606 $aMotion pictures$xPhilosophy 606 $aSemiotics 606 $aVisual perception 610 $aBenjamin. 610 $aDeleuze. 610 $aImage. 610 $aaesthetics. 610 $acinema. 610 $aeconomy. 610 $aelevators. 610 $aescalators. 610 $aeye-tracking. 610 $afilm. 610 $ainnervation. 610 $amoney. 610 $apolitical economy. 615 0$aMotion pictures$xEconomic aspects. 615 0$aMotion pictures$xPhilosophy. 615 0$aSemiotics. 615 0$aVisual perception. 676 $a791.4301 676 $a791.4301 700 $aSzendy$b Peter$4aut$4http://id.loc.gov/vocabulary/relators/aut$0625456 701 $aPlug$b Jan$01666744 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910809158103321 996 $aThe Supermarket of the Visible$94026158 997 $aUNINA