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Post-cinema designates a new way of making films. It is time to ask
whether this novelty is complete or relative and to evaluate to
what extent it represents a unitary or diversified current. The
book proposes to integrate the post-cinema question within the
post-art question in order to study the new ways of making filmic
images. The issue will be considered at three levels: the
impression of post-art on "regular" films; the "relocation"
(Casetti) of the same films that can be seen using devices of all
kinds in conditions more or less removed from the dispositif of the
theater; the integration of cinema into contemporary art in all
kinds of forms of creation and exhibition, parallel to the
integration of contemporary art in "regular" cinema.
This collection brings together a number of leading scholars in
film studies to explore viewing and listening dispositives - the
Foucauldian concept of a strategic and technical configuration of
practices and discourses - from the emergence of film studies as a
field in the 1960s to more recent uses of the concept. In
particular, the contributors confront points of view and
perspectives in the context of the rise and spread of new
technologies, changes that are continually altering the boundaries
and the spaces of cinema and thus demand new analysis and
theoretization.
Is a film watched on a video screen still cinema? Have digital
compositing, motion capture, and other advanced technologies remade
or obliterated the craft? Rooted in their hypothesis of the "double
birth of media," Andre Gaudreault and Philippe Marion take a
positive look at cinema's ongoing digital revolution and reaffirm
its central place in a rapidly expanding media landscape. The
authors begin with an overview of the extreme positions held by
opposing camps in the debate over cinema: the "digitalphobes" who
lament the implosion of cinema and the "digitalphiles" who
celebrate its new, vital incarnation. Throughout, they remind
readers that cinema has never been a static medium but a series of
processes and transformations powering a dynamic art. From their
perspective, the digital revolution is the eighth major crisis in
the history of motion pictures, with more disruptions to come.
Brokering a peace among all sides, Gaudreault and Marion emphasize
the cultural practice of cinema over rigid claims on its identity,
moving toward a common conception of cinema to better understand
where it is headed next.
Is a film watched on a video screen still cinema? Have digital
compositing, motion capture, and other advanced technologies remade
or obliterated the craft? Rooted in their hypothesis of the "double
birth of media," Andre Gaudreault and Philippe Marion take a
positive look at cinema's ongoing digital revolution and reaffirm
its central place in a rapidly expanding media landscape. The
authors begin with an overview of the extreme positions held by
opposing camps in the debate over cinema: the "digitalphobes" who
lament the implosion of cinema and the "digitalphiles" who
celebrate its new, vital incarnation. Throughout, they remind
readers that cinema has never been a static medium but a series of
processes and transformations powering a dynamic art. From their
perspective, the digital revolution is the eighth major crisis in
the history of motion pictures, with more disruptions to come.
Brokering a peace among all sides, Gaudreault and Marion emphasize
the cultural practice of cinema over rigid claims on its identity,
moving toward a common conception of cinema to better understand
where it is headed next.
A pioneering figure in film studies, Christian Metz proposed
countless new concepts for reflecting on cinema, rooted in his
phenomenological structuralism. He also played a key role in
establishing film studies as a scholarly discipline, making major
contributions to its institutionalisation in universities
worldwide. This book brings together a stellar roster of
contributors to present a close analysis of Metz's writings, their
theoretical and epistemological positions, and their ongoing
influence today.
Establishing a new vision for film history, "Film and
Attraction: From Kinematography to Cinema" urges readers to
consider the importance of complex social and cultural forces in
early film. Andre Gaudreault argues that Edison and the Lumieres
did not invent cinema; they invented a device. Explaining how this
device, the kinematograph, gave rise to cinema is the challenge he
sets for himself in this volume. He highlights the forgotten role
of the film lecturer and examines film's relationship with other
visual spectacles in fin-de-siecle culture, from magic sketches to
fairy plays and photography to vaudeville. In reorienting the study
of film history, Film and Attraction offers a candid reassessment
of Georges Melies' rich oeuvre and includes a new, unabridged
translation of Melies' famous 1907 text "Kinematographic Views." A
foreword by Rick Altman stresses the relevance of Gaudreault's
concerns to Anglophone film scholarship.
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