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[null,"1.","Record Nr.",null,"UNISA990000203070203316"]
[null,null,"Autore",null,"International workshop IWMM 92 : 1992"]
[null,null,"Titolo",null,"Memory management : International workshop IWMM 92 : St. Malo, France, September 17-19, 1992 : proceedings / Y. Bekkers ... [et al.] (eds.)"]
[null,null,"Pubbl/distr/stampa",null,"Berlin [etc.] : Springer-Verlag, copyr. 1992"]
[null,null,"ISBN",null,"3-540-55940-X"]
[null,null,"Descrizione fisica",null,"XI, 524 p. : ill. ; 25 cm"]
[null,null,"Collana",null,"Lecture notes in computer science ; 637"]
[null,null,"Disciplina",null,"0045"]
[null,null,"Collocazione",null,"001 LNCS (637)"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,"2.","Record Nr.",null,"UNINA9910418059803321"]
[null,null,"Autore",null,"Comolli Jean-Louis"]
[null,null,"Titolo",null,"Cinéma, Numérique, Survie : L’art du temps / / Jean-Louis Comolli"]
[null,null,"Pubbl/distr/stampa",null,"Lyon, : ENS Éditions, 2019"]
[null,null,"ISBN",null,"979-1-03-620107-3"]
[null,null,"Descrizione fisica",null,"1 online resource (212 p.)"]
[null,null,"Soggetti",null,"Film  Radio  Television"]
[{"$nulls":4},"cinéma"]
[{"$nulls":4},"révolution numérique"]
[{"$nulls":4},"politique"]
[{"$nulls":4},"temps"]
[{"$nulls":4},"cinema"]
[{"$nulls":4},"digital revolution"]
[{"$nulls":4},"politics"]
[{"$nulls":4},"time"]
[null,null,"Lingua di pubblicazione",null,"Francese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Sommario/riassunto","Qu’est-ce qui dresse le cinéma contre les accélérations du tout numérique ? Les aurores après la tempête ne se voient plus que sur les écrans des salles de cinéma. Numérisés, les capitaux et les catastrophes détruisent le monde des matins tranquilles. La guerre est dans le temps. C’est à la chaîne que le numérique fabrique du virtuel, du mirage, de la monnaie de singe. En ce monde-hologramme, il n’est plus ni corps ni chair, les mains ne caressent plus rien, les blessures elles-mêmes sont factices. Cette nuée d’images nous dérobe le réel et peu à peu impose le désert des hommes et des choses. Contre la violence des exils, la salle de projection n’est-elle pas la dernière demeure de l’humain ? Face à la démultiplication des écrans, l’hypervisibilité, la transparence, comment le cinéma peut-il encore préserver sa part d’ombre et rester une arme critique ? Jusqu’où la révolution numérique n’est-elle pas en train d’affecter l’expérience esthétique et morale du cinéma, et au-delà, notre civilisation ?  What sets cinema against the precipitous rise of digital technologies? Faced with the proliferation of screens, hypervisibility and transparency, how "]
[{"$nulls":4},"can cinema still preserve its shadowy side and remain a weapon of criticism? To what extent is the digital revolution affecting the aesthetic and moral experience of cinema and, beyond that, our civilisation? French director, screenwriter and writer, Jean-Louis Comolli worked for Les Cahiers du cinéma, where he was editor-in-chief from 1966 to 1971. In this essay, he gives us his critical perspective and analysis of the effects and consequences of the digital revolution on the cinematographic art. An essential book for anyone who wants to understand Comolli’s vision of cinema and the world."]