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[null,"1.","Record Nr.",null,"UNISA996383943603316"]
[null,null,"Autore",null,"Buck George, Sir, <d. 1623.>"]
[null,null,"Titolo",null,"Daphnis polystephanos [[electronic resource] ] : An eclog treating of crownes, and of garlandes, and to whom of right they appertaine. Addressed, and consecrated to the Kings Maiestie. By G.B. Knight"]
[null,null,"Pubbl/distr/stampa",null,"At London, : Printed by G. Eld for Thomas Adams, 1605"]
[null,null,"Descrizione fisica",null,"[56] p., folded plate"]
[null,null,"Soggetti",null,"Plantagenet, House of"]
[{"$nulls":4},"Great Britain Kings and rulers Early works to 1800"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Signed on A2v: Georgius Bucus."]
[{"$nulls":4},"In verse."]
[{"$nulls":4},"First two words of title in Greek characters."]
[{"$nulls":4},"Signatures: A-Gâ\u0081´."]
[{"$nulls":4},"The folding engraved genealogical table is signed: I.W.S. delineauit. Ioan. Woutneel excud. 1602."]
[{"$nulls":4},"Reproduction of the original in the British Library."]
[null,null,null,"Sommario/riassunto","eebo-0018"]
[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."]