|
Showing 1 - 7 of
7 matches in All Departments
This book examines the development of cinematic form and culture in
Russia, from its late nineteenth-century beginnings as a fairground
attraction to the early post-Revolutionary years. The author traces
the changing perceptions of cinema and its social transition from a
modernist invention to a national art form. He explores reactions
to the earliest films from actors, novelists, poets, writers and
journalists. His richly detailed study of the physical elements of
cinematic performance includes the architecture and illumination of
the cinema foyer, the speed of projection and film acoustics. In
contrast to standard film histories, this book focuses on reflected
images: rather than discussing films and film-makers, it features
the historical film-goer and early writings on film. The book
presents a vivid and changing picture of cinema culture in Russia
in the twilight of the tsarist era and the first decades of the
twentieth century. The study expands the whole context of reception
studies and opens up questions about reception relevant to other
national cinemas.
This book examines the development of cinematic form and culture in
Russia, from its late nineteenth-century beginnings as a fairground
attraction to the early post-Revolutionary years. The author traces
the changing perceptions of cinema and its social transition from a
modernist invention to a national art form. He explores reactions
to the earliest films from actors, novelists, poets, writers and
journalists. His richly detailed study of the physical elements of
cinematic performance includes the architecture and illumination of
the cinema foyer, the speed of projection and film acoustics. In
contrast to standard film histories, this book focuses on reflected
images: rather than discussing films and film-makers, it features
the historical film-goer and early writings on film. The book
presents a vivid and changing picture of cinema culture in Russia
in the twilight of the tsarist era and the first decades of the
twentieth century. The study expands the whole context of reception
studies and opens up questions about reception relevant to other
national cinemas.
In this cross-cultural history of narrative cinema and media
from the 1910s to the 1930s, leading and emergent scholars explore
the transnational crossings and exchanges that occurred in early
cinema between the two world wars. Drawing on film archives from
around the world, this volume advances the premise that silent
cinema freely crossed national borders and linguistic thresholds in
ways that became far less possible after the emergence of sound.
These essays address important questions about the uneven forces
geographic, economic, political, psychological, textual, and
experiential that underscore a non-linear approach to film history.
The "messiness" of film history, as demonstrated here, opens a new
realm of inquiry into unexpected political, social, and aesthetic
crossings of silent cinema."
Sergei Eisenstein envisaged "Ivan the Terrible" (1944/46)--his
highly stylised life of the sixteenth-century Russian Tsar--as a
trilogy, but he died in 1948 before he could even really begin the
third part. Whereas Part One had been a resounding success, winning
a Stalin prize, Part Two met with the Kremlin's disfavour, which
was communicated to Eisenstein by Zhdanov, Molotov and Stalin
himself, and was banned until 1958. "Ivan the Terrible" is a ruin,
but a glorious one, with its director at the height of his
powers.
Yuri Tsivian has conducted extensive research in the Soviet
archives and offers unprecedented insight into Eisenstein's grand
project. As well as being an ambivalent chronicle of tyranny, "Ivan
the Terrible" is the product of a lifetime's learning, artistry,
and intellectual speculation. Tsivian reconstructs the director's
"mental film" that underlies the finished work. This book allows
the reader to follow the trains of thought that connect the
aesthetic construction and visual design of "Ivan the Terrible" to
Eisenstein's knowledge of iconography and painting, psychoanalysis
and philosophy, Shakespeare and Balzac--and much more.
Editors Marsha Kinder and Tara McPherson present an authoritative
collection of essays on the continuing debates over medium
specificity and the politics of the digital arts. Comparing the
term “transmedia” with “transnational,” they show that the
movement beyond specific media or nations does not invalidate those
entities but makes us look more closely at the cultural specificity
of each combination. In two parts, the book stages debates across
essays, creating dialogues that give different narrative accounts
of what is historically and ideologically at stake in medium
specificity and digital politics. Each part includes a substantive
introduction by one of the editors. Part 1 examines precursors,
contemporary theorists, and artists who are protagonists in this
discursive drama, focusing on how the transmedia frictions and
continuities between old and new forms can be read most
productively: N. Katherine Hayles and Lev Manovich redefine medium
specificity, Edward Branigan and Yuri Tsivian explore nondigital
precursors, Steve Anderson and Stephen Mamber assess contemporary
archival histories, and Grahame Weinbren and Caroline Bassett
defend the open-ended mobility of newly emergent media. In part 2,
trios of essays address various ideologies of the digital: John
Hess and Patricia R. Zimmerman, Herman Gray, and David Wade Crane
redraw contours of race, space, and the margins; Eric Gordon,
Cristina Venegas, and John T. Caldwell unearth database cities,
portable homelands, and virtual fieldwork; and Mark B.N. Hansen,
Holly Willis, and Rafael Lozano-Hemmer and Guillermo Gómez-Peña
examine interactive bodies transformed by shock, gender, and color.
An invaluable reference work in the field of visual media studies,
Transmedia Frictions provides sound historical perspective on the
social and political aspects of the interactive digital arts,
demonstrating that they are never neutral or innocent.
Early Cinema in Russia chronicles one of the great lost periods in
cinema history, that of Pre-Revolutionary Russia. In contrast to
standard film histories, Yuri Tsivian focuses on reflected images:
it features the historical film-goer and early writings on film as
well as examining the physical elements of cinematic performance.
"Tsivian casts a probing beam of illumination into some of the most
obscure areas of film history. And the terrain he lights up with
his careful assembly and insightful reading of the records of early
film viewing in Russia not only changes our sense of the history of
this period but also ...causes us to re-evaluate some of our most
basic theoretical and historical assumptions about what a film is
and how it affects its audiences."--Tom Gunning, from the Foreword
"Early Cinema in Russia ...reveals Tsivian's strengths very well
and demonstrates why he is ...the finest film historian of his
generation in the former Soviet Union."--Denise Y. Youngblood,
Historical Journal of Film, Radio, and Television "A work of
fundamental importance."--Julian Graffy, Recent Studies of Russian
and Soviet Cinema
Editors Marsha Kinder and Tara McPherson present an authoritative
collection of essays on the continuing debates over medium
specificity and the politics of the digital arts. Comparing the
term "transmedia" with "transnational," they show that the movement
beyond specific media or nations does not invalidate those entities
but makes us look more closely at the cultural specificity of each
combination. In two parts, the book stages debates across essays,
creating dialogues that give different narrative accounts of what
is historically and ideologically at stake in medium specificity
and digital politics. Each part includes a substantive introduction
by one of the editors.
Part 1 examines precursors, contemporary theorists, and artists
who are protagonists in this discursive drama, focusing on how the
transmedia frictions and continuities between old and new forms can
be read most productively: N. Katherine Hayles and Lev Manovich
redefine medium specificity, Edward Branigan and Yuri Tsivian
explore nondigital precursors, Steve Anderson and Stephen Mamber
assess contemporary archival histories, and Grahame Weinbren and
Caroline Bassett defend the open-ended mobility of newly emergent
media.
In part 2, trios of essays address various ideologies of the
digital: John Hess and Patricia R. Zimmerman, Herman Gray, and
David Wade Crane redraw contours of race, space, and the margins;
Eric Gordon, Cristina Venegas, and John T. Caldwell unearth
database cities, portable homelands, and virtual fieldwork; and
Mark B.N. Hansen, Holly Willis, and Rafael Lozano-Hemmer and
Guillermo Gomez-Pena examine interactive bodies transformed by
shock, gender, and color.
An invaluable reference work in the field of visual media studies,
"Transmedia Frictions" provides sound historical perspective on the
social and political aspects of the interactive digital arts,
demonstrating that they are never neutral or innocent.
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|