|
Showing 1 - 5 of
5 matches in All Departments
In this book, Seung-hoon Jeong introduces the cinematic interface
as a contact surface that mediates between image and subject,
proposing that this mediation be understood not simply as
transparent and efficient but rather as asymmetrical, ambivalent,
immanent, and multidirectional. Jeong enlists the new media term
"interface" to bring to film theory a synthetic notion of
interfaciality as underlying the multifaceted nature of both the
image and subjectivity. Drawing on a range of films, Jeong examines
cinematic interfaces seen on screen and the spectator's experience
of them, including: the direct appearance of a
camera/filmstrip/screen, the character's bodily contact with such a
medium-interface, the object's surface and the subject's face as
"quasi-interface," and the image itself. Each of these case studies
serves as a platform for remapping and revamping major concepts in
film studies such as suture, embodiment, illusion, signification,
and indexicality. Looking to such theories as the ontology of the
image and the phenomenology of the body, this original theorization
of the cinematic interface not only offers a conceptual framework
for rethinking and re-linking film and media studies, but also
suggests a general theory of the interface.
In this book, Seung-hoon Jeong introduces the cinematic interface
as a contact surface that mediates between image and subject,
proposing that this mediation be understood not simply as
transparent and efficient but rather as asymmetrical, ambivalent,
immanent, and multidirectional. Jeong enlists the new media term
"interface" to bring to film theory a synthetic notion of
interfaciality as underlying the multifaceted nature of both the
image and subjectivity. Drawing on a range of films, Jeong examines
cinematic interfaces seen on screen and the spectator's experience
of them, including: the direct appearance of a
camera/filmstrip/screen, the character's bodily contact with such a
medium-interface, the object's surface and the subject's face as
"quasi-interface," and the image itself. Each of these case studies
serves as a platform for remapping and revamping major concepts in
film studies such as suture, embodiment, illusion, signification,
and indexicality. Looking to such theories as the ontology of the
image and the phenomenology of the body, this original theorization
of the cinematic interface not only offers a conceptual framework
for rethinking and re-linking film and media studies, but also
suggests a general theory of the interface.
Biopolitical Ethics in Global Cinema takes a new approach to world
cinema through critical theory. Whereas world cinema often refers
to non-American films deemed artistic or peripheral, Seung-hoon
Jong examines its mapping frames: the territorial 'national frame,'
the deterritorializing 'transnational frame,' and the 'global
frame.' If world cinema studies have mostly displayed national
cinemas and their transnational mutations, his global frame
highlights two conflicting ethical facets of globalization: the
'soft-ethical' inclusion of differences in multicultural,
neoliberal systems and their 'hard-ethical' symptoms of
fundamentalist exclusion and terror. Reflecting both and suggesting
their alternatives, global cinema draws attention to new changes in
subjectivity and community that Jeong investigates in terms of
biopolitical 'abjection' and ethical 'agency.' In this frame, the
book explores a vast net of post-1990 films circulating in both the
mainstream market and the festival circuit. Jeong comparatively
navigates these films, highlighting less essentialist
particularities than compatible localities that perform universal
aspects of biopolitical ethics and its alternatives by centering
the narrative of 'double death': the abject as symbolically dead
struggle for lost subjectivity or new agency until physically
dying. This narrative pervades global cinema from Hollywood
blockbusters and European art films to Middle Eastern dramas and
Asian genre films. Ultimately, the book renews critical discourses
on global issues—including multiculturalism, catastrophe,
sovereignty, abjection, violence, network, nihilism, and
atopia—through a core cluster of political, ethical, and
psychoanalytic philosophies.
Once heralded and defined by the likes of Francois Truffaut and
Andrew Sarris as a romantic figure of aesthetic individualism, the
auteur is reinvestigated here through a novel approach. Bringing
established as well as emergent figures of world art cinema to the
fore, The Global Auteur shows how politics and philosophy are
present in the works of these important filmmakers. They can be
still seen leading a fight that their glorious predecessors seemed
to have abandoned in the face of global capitalism and the market
economy. Yet, as the contributors show, a new world calls for a new
cinema, and thus for new auteurs. Covering a range of global
auteurs such as Lars von Trier, Lav Diaz, Lee Chang-dong and
Abderrahmane Sissako, The Global Auteur provides a much-needed
reassessment of the film auteur for the global age.
Once heralded and defined by the likes of Francois Truffaut and
Andrew Sarris as a romantic figure of aesthetic individualism, the
auteur is reinvestigated here through a novel approach. Bringing
established as well as emergent figures of world art cinema to the
fore, The Global Auteur shows how politics and philosophy are
present in the works of these important filmmakers. They can be
still seen leading a fight that their glorious predecessors seemed
to have abandoned in the face of global capitalism and the market
economy. Yet, as the contributors show, a new world calls for a new
cinema, and thus for new auteurs. Covering a range of global
auteurs such as Lars von Trier, Lav Diaz, Lee Chang-dong and
Abderrahmane Sissako, The Global Auteur provides a much-needed
reassessment of the film auteur for the global age.
|
You may like...
Midnights
Taylor Swift
CD
R418
Discovery Miles 4 180
|