Film history as media archaeology: tracking digital cinema
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Amsterdam
Amsterdam University Press
[2016]
|
| Schriftenreihe: | Film culture in transition
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Auf dem Umschlag: Film culture in transition 50 |
| Beschreibung: | 407 Seiten |
| ISBN: | 9789462980570 9789462984899 9462980578 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Titel: Film history as media archaeology
Autor: Elsaesser, Thomas
Jahr: 2016
Contents
Acknowledgements 13
General Introduction 17
Media Archaeology: Foucault s Legacy
Film History as Media Archaeology 17
Is Media Archaeology a Supplement to or a Substitute for Film
History? 22
Walter Benjamin and the Modernity Thesis 26
Noël Burch and Primitive Cinema 30
The Legacy of Michel Foucault 32
Media Archaeology by Default as well as by Design 35
Media Archaeology and the Digital Turn 38
Four Dominant Approaches 44
Media Archaeology and the Museum World 46
The Amsterdam Media Archaeology Network 48
The Deep Time of Media, or the Place of Cinema in (Media) History 56
The Archive: Crises in History and Memory 58
The Crisis in Narrative: Transmedia Studies and Participatory Culture 60
The Limits of Media Archaeology 65
I Early Cinema
1. Film History as Media Archaeology 71
Introduction 71
Early Cinema as Key to the New Media Paradigms? 74
The Cinema of Attractions: Early Cinema, Avant-garde, Post-
Classical, and Digital Media 77
Media Archaeology I: Film History between Teleologies and
Retroactive Causalities 8°
Media Archaeology II: Family Tree or Family Resemblance? 86
Media Archaeology III: What is Cinema, Where is Cinema, and
When is Cinema? 94
2. The Cinematic Dispositif îoi
(Between Apparatus Theory and Artists Cinema)
M is for Media Archaeology 101
The Dispositif Cinema: Conditions of Possibility, Definitions 106
The Cinematic Apparatus Between High Theory and Media
Archaeology 107
Dispositif Mark 1: What was Cinema? 115
Dispositif Mark 2: Early Cinema 120
Dispositif Mark 3: Installation Art and the Moving Image 124
Dispositif Mark 4: Encounter and Event 127
The Dispositif as Interface? 130
Vanishing Points: Infinity versus Ubiquity 134
II The Challenge of Sound
3. Going Live 139
Body and Voice in Some Early German Sound Films
A System of Double Address 139
Das Lied einer Nacht: Modernism versus Modernization 141
Horror Vacui or Ontological Vertigo? 145
Radio and Cinema 147
Going Live as Staying Alive 151
4. The Optical Wave 155
Walter Ruttmann in ig2g
The Film Industry and Avant-garde 155
International Cooperation against National Profiling 158
Painting with Time: Ruttmann and the Physiognomy of the Curve 170
Sound film is the topic of the day —the pivotal years: 1929-30 176
1929 Melodie der Welt 178
The Film Author and the Commission: Ruttmann and the Industry 183
Ruttmann Believes It 185
Ill Archaeologies of Interactivity
5. Archaeologies of Interactivity 191
The Rube as Symptom of Media Change
Attention - Problem or Solution? 191
The Rube Films: Towards a Theory of Embedded Attention 198
The (Extra-)Diegetic Spaces of Early Cinema 203
The Return of the Rube 205
Towards a New Reflexivity 207
6. Constructive Instability 209
or: The Life of Things as Cinema s Afterlife?
Here-Me-Now 209
Constructive Instability 211
Performed Failure: Narratives of Collapse 213
The Honda Cog 214
Der Lauf der Dinge 216
Around the World in Eighty Clicks 219
Cluster and Forking Path Rube Goldberg 220
Cluster and Forking Path Pythagoras Switch 221
Cluster and Forking Path Domino Day and Celebrity TV 222
Between Epiphany and Entropy 223
IV Digital Cinema
7. Digital Cinema 231
Delivery, Event, Time
Deconstructing the Digital 231
Digital Delivery and Film Production 232
Cinema: The Art and Act of Record? 237
Television and the Media Event 240
Cinema as Social Event and Site 243
The Digital Media as Event 247
The Digital as Cultural Metaphor 250
8. Digital Cinema and the Apparatus 253
Archaeologies, Epistemologies, Ontologies
Can Film History Go Digital? 253
It s Business as Usual 254
As Usual, It s Business 255
The Digital: Technological Standard or Epistemological Rupture? 257
Cinema: An Invention that Has No Origins 258
Film in the Expanded Field 263
V New Genealogies of Cinema
9. The Return of 3D 269
On Some ofthe Logics and Genealogies of the Image in the Twenty-
First Century
Trains of Thought 269
Digital 3D: Case Already Closed? 270
The Counternarratives 273
The Tail Wags the Dog 273
Playing Catch-up to the Revolution in Sound? 278
The Many Histories of 3D—and a Different Genealogy for Cinema 280
What is an Image Today? 287
To Lie and to Act: Operational Images 293
Enlarging the Cast of Actors, Interacting 297
10. Cinema, Motion, Energy, and Entropy 301
A Different Media Archaeology of Cinema? 301
Cinema and Energy: A Multiple Agenda 303
Movement: Analytic and Synthetic 306
Still/Moving 308
Five Types of Energy 309
Assemblages (of Man-Machine-Metropolis) 314
Energy Exchange: Physical, Physiological, Psychological? 314
Towards a Holistic Theory of Energy: Humans and Things 316
Cinema and Entropy: The Human Motor and Fatigue 317
Workers Leaving the Factory: Cinema, the Disease of which
it Pretends to be the Cure? 322
From Energy to Information: Attention, Affective, and Perceptual
Labor 324
VI Media Archaeology as Symptom
11. Media Archaeology as the Poetics of Obsolescence 331
Media Archaeology: Making the Past Strange Again 333
Obsolescence as Meta-Mechanics 334
The Ends of History or the Borders of History? 337
Media Memory as a Challenge to History 339
Obsolescence Begets Scarcity, and Scarcity Creates Value 341
The Museum: A Politics of Obsolescence 343
The Artist: A Poetics of Obsolescence 346
12. Media Archaeology as Symptom 351
Media Archaeology as Crisis Management 360
Alternative Genealogies: Friedrich Kittler 365
Two Kinds of Media Archaeology 369
Mobility, Portability, Commodity 373
Geometrical Optics and Physiological Optics 376
Media Archaeology as the Ideology of the Digital? 383
Media Archaeology - Selected Bibliography 389
Index of Film Titles 397
Index of Key Words 399
Index of Names
403
|
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| spelling | Elsaesser, Thomas 1943-2019 Verfasser (DE-588)122695682 aut Film history as media archaeology tracking digital cinema Thomas Elsaesser Amsterdam Amsterdam University Press [2016] © 2016 407 Seiten txt rdacontent n rdamedia nc rdacarrier Film culture in transition Auf dem Umschlag: Film culture in transition 50 Geschichte gnd rswk-swf Medientechnik (DE-588)4794555-2 gnd rswk-swf Filmgeschichtsschreibung (DE-588)4225851-0 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf Neue Medien (DE-588)4196910-8 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Film (DE-588)4017102-4 s Neue Medien (DE-588)4196910-8 s Medientechnik (DE-588)4794555-2 s Filmgeschichtsschreibung (DE-588)4225851-0 s Geschichte z DE-604 Erscheint auch als Online-Ausgabe, pdf 978-90-4852-996-4 HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029228834&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Film history as media archaeology tracking digital cinema |
| title_auth | Film history as media archaeology tracking digital cinema |
| title_exact_search | Film history as media archaeology tracking digital cinema |
| title_full | Film history as media archaeology tracking digital cinema Thomas Elsaesser |
| title_fullStr | Film history as media archaeology tracking digital cinema Thomas Elsaesser |
| title_full_unstemmed | Film history as media archaeology tracking digital cinema Thomas Elsaesser |
| title_short | Film history as media archaeology |
| title_sort | film history as media archaeology tracking digital cinema |
| title_sub | tracking digital cinema |
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