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[null,"1.","Record Nr.",null,"UNINA9910155408603321"]
[null,null,"Autore",null,"Brandstätter Markus <p>Markus Brandstätter, Kärnten, Wien, Österreich </p>"]
[null,null,"Titolo"]
[{"$nulls":4},"Kinematographische Differenz : Film und Wahrnehmung / Markus Brandstätter"]
[null,null,"Pubbl/distr/stampa",null,"Bielefeld, : transcript Verlag, 2016"]
[null,null,"ISBN",null,"9783839437131"]
[{"$nulls":4},"383943713X"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (129 pages) : illustrations"]
[null,null,"Collana",null,"Film"]
[null,null,"Classificazione",null,"AP 57800"]
[null,null,"Disciplina",null,"791.43"]
[null,null,"Soggetti",null,"Film"]
[{"$nulls":4},"Philosophie"]
[{"$nulls":4},"Philosophy"]
[{"$nulls":4},"Erkenntnis"]
[{"$nulls":4},"Knowledge"]
[{"$nulls":4},"Differenz"]
[{"$nulls":4},"Difference"]
[{"$nulls":4},"Bewegungsbild"]
[{"$nulls":4},"Moving Picture"]
[{"$nulls":4},"Time Picture"]
[{"$nulls":4},"Zeitbild"]
[{"$nulls":4},"Medien"]
[{"$nulls":4},"Media"]
[{"$nulls":4},"Kultur"]
[{"$nulls":4},"Culture"]
[{"$nulls":4},"Gesellschaft"]
[{"$nulls":4},"Society"]
[{"$nulls":4},"Kritik"]
[{"$nulls":4},"Critique"]
[{"$nulls":4},"Kinematograph"]
[{"$nulls":4},"Cinematographer"]
[{"$nulls":4},"Wahrnehmung"]
[{"$nulls":4},"Perception"]
[{"$nulls":4},"Filmische Zeit"]
[{"$nulls":4},"Filmic Time"]
[{"$nulls":4},"Transcendence"]
[{"$nulls":4},"Transzendenz"]
[{"$nulls":4},"Interpretation"]
[{"$nulls":4},"Bild"]
[{"$nulls":4},"Image"]
[{"$nulls":4},"Medienästhetik"]
[{"$nulls":4},"Media Aesthetics"]
[{"$nulls":4},"Medientheorie"]
[{"$nulls":4},"Media Theory"]
[{"$nulls":4},"Medienwissenschaft"]
[{"$nulls":4},"Media Studies"]
[null,null,"Lingua di pubblicazione",null,"Tedesco"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","The Film as an organisation principle: about noises, sounds, thoughts, time, space, and their perception."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references."]
[null,null,"Nota di contenuto",null,"Frontmatter    1 Inhalt    5 Anstelle einer Vorbemerkung    7 [vor-läufig]    9 [Öffnung]    19 Lost Highway, David Lynch, 1997    23 [Angst], [organloser Körper], [Wunschmaschine]    31 [Vorläufigkeit], [Verschränkung] [Bewegung], [Schema], [Bild], [Modell]    51 [Kinematograph]    83 In den Tagebuchaufzeichnungen Dsiga Wertows    89 Kasimir Malewitsch beklagt sich    99 Philosophischer Begriff und der Weiße Wal    109 Literatur    121 Filmverzeichnis    123 Backmatter    124"]
[null,null,null,"Sommario/riassunto","Wie funktionieren Begriffe, bewegte Bilder und Wahrnehmung?Mit dem Konzept der »Kinematographischen Differenz« richtet sich der Fokus auf die Wahrnehmung von Bewegungsbildern und filmischer Zeit. Vor diesem Hintergrund betrachtet Markus Brandstätter den Kinematographen als Schema und Modell des transzendentalen Vollzugs. Er zeigt, dass man das Phänomen Film auch außerhalb gängiger Interpretationsmuster betrachten kann und geht – im Rahmen der »Kinematographischen Differenz« – den transzendentalen Problemen der Kinematographie und Wahrnehmung nach."]
[{"$nulls":4},"Besprochen in:www.hhprinzler.de, 18.01.2017, Hans Helmut Prinzlertv diskurs, 2 (2018), Michael Wedel"]