How is film changing? What does it do, and what do we do with it?
This book examines the reasons why we should be studying film in
the twenty-first century, connecting debates from philosophy,
anthropology and new media with historical concerns of film
studies.
When the common frameworks for studying film - the nation,
identity, representation, Hollywood industry - have ceased to yield
explanatory power, how do we conceive of film's doings? In this
fresh and innovative book, Janet Harbord argues that film no longer
represents or stands in for particular cultures, but acts
isomorphically, showing us how the world works. Film here is
action, energy, matter, moving across space to forge connections,
provide encounters, and create schisms in our knowledge of others.
The book brings together key thinkers of the contemporary in an
innovative exchange between film and theory. Marc Auge's concept of
'non-place' is brought to bear on, and disrupt, the category of
national cinema. Manuel DeLanda's notion of morphogenesis frames an
understanding of film as a process of constant evolution, in which
the terms of change are immanent to matter itself. And the concept
of inertia, from Paul Virilio's work, allows us to comprehend the
different energies of film. Arguing that there is no higher
position from which to view the present, either in theory or in
film, we move blindly and yet with faith, discovering the present
frame by frame. The Evolution of Film demonstrates how this is an
intangible yet critical medium in the contemporary, mediating
relationships to place, technology and thought itself.
The Evolution of Film will be essential reading for students and
scholars of film at all levels.
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