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[null,null,"Autore",null,"Miguel Marlon"]
[null,null,"Titolo",null,"Camering : Fernand Deligny on cinema and the image / / introduced and edited by Marlon Miguel ; translated by Sarah Moses ; postface by Elena Vogman"]
[null,null,"Pubbl/distr/stampa",null,"[Place of publication not identified] : , : Leiden University Press, , [2022]"]
[{"$nulls":4},"©2022"]
[null,null,"ISBN",null,"94-006-0430-0"]
[null,null,"Descrizione fisica",null,"1 online resource (251 pages)"]
[null,null,"Collana",null,"Media / Art / Politics Series ; ; Volume 3"]
[null,null,"Disciplina",null,"371.9"]
[null,null,"Soggetti",null,"Film criticism"]
[{"$nulls":4},"Documentary films - France"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[{"$nulls":3},"Livello bibliografico","Monografia"]
[{"$nulls":3},"Note generali","In meegestuurde metadata aangekondigd met ISBN 9789087283841."]
[{"$nulls":4},"Vertaald uit het Frans."]
[null,null,"Nota di contenuto",null,"Frontmatter -- Contents -- Epigraph [1996] -- Translator’s Note -- General Introduction -- Cinema. Cine-Club [1934] -- The Camera, a Pedagogical Tool [1955] -- He’s Still One of Us [1971] -- Camering [1977] -- Miscreating [1979] -- Camering [1982] -- The Alga and the Fungus [1982] -- Fossils Have a Hard Life: Apropos of the Image [1982] -- Camering [1978-1983] -- The Distinctiveness of the IMAGEs [1988] -- What Is Not Seen (by the Self) [1990] -- Postface. Minor Gestures, Minor Media -- Notes"]
[{"$nulls":3},"Sommario/riassunto","Fernand 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."]