Film history as media archaeology :tracking digital cinema

• 作者: Elsaesser, Thomas,
• 出版:
• 稽核項: 1 online resource.
• 叢書名: Film culture in transition ;50
• 標題: Motion pictures , PERFORMING ARTS , Motion pictures Philosophy. , Philosophy. , Reference. , History. , Motion pictures History. , Motion pictures. , Electronic books. , PERFORMING ARTS Reference.
• ISBN: 9048529964 , 9789048529964
• ISBN: 9462980578 , 9789462980570 , 9789462984899 , 9462984891
• 試查全文@TNUA:
  
• 附註: Cover; Contents; Acknowledgements; General Introduction; Media Archaeology: Foucaulta#x80;#x99;s Legacy; Film History as Media Archaeology; Is Media Archaeology a Supplement to or a Substitute for Film History?; Walter Benjamin and the Modernity Thesis; NoAl Burch and a#x80;#x9C;Primitive Cinemaa#x80;#x9D;; The Legacy of Michel Foucault; Media Archaeology by Default as well as by Design; Media Archaeology and the Digital Turn; Four Dominant Approaches; Media Archaeology and the Museum World; The Amsterdam Media Archaeology Network; The Deep Time of Media, or the Place of Cinema in (Media) History. The Archive: Crises in History and MemoryThe Crisis in Narrative: Transmedia Studies and Participatory Culture; The Limits of Media Archaeology; I a#x80;#x93; Early Cinema; 1. Film History as Media Archaeology; Introduction; Early Cinema as Key to the New Media Paradigms?; The Cinema of Attractions: Early Cinema, Avant-garde, Post-Classical, and Digital Media; Media Archaeology I: Film History between Teleologies and Retroactive Causalities; Media Archaeology II: Family Tree or Family Resemblance?; Media Archaeology III: What is Cinema, Where is Cinema, and When is Cinema? 2. The Cinematic Dispositif(Between Apparatus Theory and Artistsa#x80;#x99; Cinema); a#x80;#x9C;Ma#x80;#x9D; is for Media Archaeology; The Dispositif Cinema: Conditions of Possibility, Definitions; The Cinematic Apparatus Between High Theory and Media Archaeology; Dispositif Mark 1: What was Cinema?; Dispositif Mark 2: Early Cinema; Dispositif Mark 3: Installation Art and the Moving Image; Dispositif Mark 4: Encounter and Event; The Dispositif as Interface?; Vanishing Points: Infinity versus Ubiquity; II a#x80;#x93; The Challenge of Sound; 3. Going a#x80;#x98;Livea#x80;#x99;; Body and Voice in Some Early German Sound Films. A System of Double AddressDas Lied einer Nacht: Modernism versus Modernization; Horror Vacui or Ontological Vertigo?; Radio and Cinema; Going Live as Staying Alive; 4. The Optical Wave; Walter Ruttmann in 1929; The Film Industry and Avant-garde; International Cooperation against National Profiling; Painting with Time: Ruttmann and the Physiognomy of the Curve; a#x80;#x9C;Sound film is the topic of the daya#x80;#x9D;a#x80;#x94;the pivotal years: 1929-30; 1929 Melodie der Welt; The Film Author and the Commission: Ruttmann and the Industry; Ruttmann Believes It; III a#x80;#x93; Archaeologies of Interactivity. 5. Archaeologies of InteractivityThe a#x80;#x9C;Rubea#x80;#x9D; as Symptom of Media Change; Attention a#x80;#x93; Problem or Solution?; The Rube Films: Towards a Theory of Embedded Attention; The (Extra- )Diegetic Spaces of Early Cinema; The Return of the Rube; Towards a New Reflexivity; 6. Constructive Instability; or: The Life of Things as Cinemaa#x80;#x99;s Afterlife?; Here-Me-Now; Constructive Instability; Performed Failure: Narratives of Collapse; The Honda Cog; Der Lauf der Dinge; Around the World in Eighty Clicks; Cluster and Forking Path a#x80;#x9C;Rube Goldberga#x80;#x9D;; Cluster and Forking Path a#x80;#x9C;Pythagoras Switcha#x80;#x9D. Cluster and Forking Path a#x80;#x9D;Domino Daya#x80;#x9D; and Celebrity TV. Includes bibliographical references (pages 389-396) and index.
• 摘要: Since cinema has entered the digital era, its very nature has come under renewed scrutiny. Countering the "death of cinema" debate, Film History as Media Archaeology​ presents a robust argument for cinema's current status as a new epistemological object of interest to philosophers, while also examining the presence of moving images in museum and art spaces as a challenge for art history. The study is the fruit of twenty years of research and writing at the interface of film history, media theory, and media archaeology by one of the acknowledged pioneers of new film history and media archaeology. It joins the efforts of other media scholars to locate cinema's historical emergence and subsequent transformations within the broader field of media change and interaction as we experience them today.
• 電子資源: https://dbs.tnua.edu.tw/login?url=https://www.jstor.org/stable/10.2307/j.ctt1zxskjv
• 系統號: 005279395
• 資料類型: 電子書
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