From cinema's earliest days, walking and filmmaking have been intrinsically linked. Technologically, culturally and aesthetically, the pioneers of cinema were not only interested in using the camera to scientifically study ambulatory motion, but were also keen to capture the speed and mobile culture of late 19th-century urban life. Photographers such as Felix Nadar took their cameras into the Parisian streets and boulevards as mechanised flaneurs, ushering us into the age of the 'mobilised virtual gaze'. But if photography could only embalm modernity in an instant of time, the cinema brought these instants to life again. From Muybridge and Marey's photographic studies of motion to Charlie Chaplin's character 'The Tramp', and from the Steadicam to the police procedural, Thomas Deane Tucker explores the intertwined relationship between cinema and walking from its very first steps breaking new ground in motion studies and providing a bold new perspective on film history.

From cinema's earliest days, walking and filmmaking have been intrinsically linked. Technologically, culturally and aesthetically, the pioneers of cinema were not only interested in using the camera to scientifically study ambulatory motion, but were also keen to capture the speed and mobile culture of late 19th-century urban life. Photographers such as Felix Nadar took their cameras into the Parisian streets and boulevards as mechanised flaneurs, ushering us into the age of the 'mobilised virtual gaze'. But if photography could only embalm modernity in an instant of time, the cinema brought these instants to life again. From Muybridge and Marey's photographic studies of motion to Charlie Chaplin's character 'The Tramp', and from the Steadicam to the police procedural, Thomas Deane Tucker explores the intertwined relationship between cinema and walking from its very first steps - breaking new ground in motion studies and providing a bold new perspective on film history.

Terrence Malick's four feature films have been celebrated by critics and adored as instant classics among film aficionados, but the body of critical literature devoted to them has remained surprisingly small in comparison to Malick's stature in the world of contemporary film. Each of the essays in Terrence Malick: Film and Philosophy is grounded in film studies, philosophical inquiry, and the emerging field of scholarship that combines the two disciplines. Malick's films are also open to other angles, notably phenomenological, deconstructive, and Deleuzian approaches to film, all of which are evidenced in this collection. Terrence Malick: Film and Philosophy engages with Malick's body of work in distinct and independently significant ways: by looking at the tradition within which Malick works, the creative orientation of the filmmaker, and by discussing the ways in which criticism can illuminate these remarkable films.

Terrence Malick's four feature films have been celebrated by critics and adored as instant classics among film aficionados, but the body of critical literature devoted to them has remained surprisingly small in comparison to Malick's stature in the world of contemporary film. Each of the essays in Terrence Malick: Film and Philosophy is grounded in film studies, philosophical inquiry, and the emerging field of scholarship that combines the two disciplines. Malick's films are also open to other angles, notably phenomenological, deconstructive, and Deleuzian approaches to film, all of which are evidenced in this collection. Terrence Malick: Film and Philosophy engages with Malick's body of work in distinct and independently significant ways: by looking at the tradition within which Malick works, the creative orientation of the filmmaker, and by discussing the ways in which criticism can illuminate these remarkable films. >

Jacques Derrida said that deconstruction 'takes place everywhere.' Derridada reexamines the work of artist Marcel Duchamp as one of these places. Tucker suggests that Duchamp belongs to deconstruction as much as deconstruction belongs to Duchamp. Both bear the infra-thin mark of the other. He explores these marks through the themes of time and diffZrance, language and the readymade, and the construction of self-identity through art. This book will be of interest to students and scholars interested in Modernism and the avant-garde. It will be useful for undergraduate students of art history, modernism, and critical theory, as well as for graduate students of philosophy, visual culture studies, and art theory.

Jacques Derrida said that deconstruction "takes place everywhere." Derridada reexamines the work of artist Marcel Duchamp as one of these places. Tucker suggests that Duchamp belongs to deconstruction as much as deconstruction belongs to Duchamp. Both bear the infra-thin mark of the other. He explores these marks through the themes of time and differance, language and the readymade, and the construction of self-identity through art. This book will be of interest to students and scholars interested in Modernism and the avant-garde. It will be useful for undergraduate students of art history, modernism, and critical theory, as well as for graduate students of philosophy, visual culture studies, and art theory.