The underwater eye: how the movie camera opened the depths and unleashed new realms of fantasy
In The Underwater Eye, Margaret Cohen tells the fascinating story of how the development of modern diving equipment and movie camera technology has allowed documentary and narrative filmmakers to take human vision into the depths, creating new imagery of the seas and the underwater realm, and expand...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Princeton ; Oxford
Princeton University Press
[2022]
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | In The Underwater Eye, Margaret Cohen tells the fascinating story of how the development of modern diving equipment and movie camera technology has allowed documentary and narrative filmmakers to take human vision into the depths, creating new imagery of the seas and the underwater realm, and expanding the scope of popular imagination. Innovating on the most challenging film set on earth, filmmakers have tapped the emotional power of the underwater environment to forge new visions of horror, tragedy, adventure, beauty, and surrealism, entertaining the public and shaping its perception of ocean reality. Examining works by filmmakers ranging from J. E. Williamson, inventor of the first undersea film technology in 1914, to Wes Anderson, who filmed the underwater scenes of his 2004 The Life Aquatic with Steve Zissou entirely in a pool, The Underwater Eye traces how the radically alien qualities of underwater optics have shaped liquid fantasies for more than a century. Richly illustrated, the book explores documentaries by Jacques Cousteau, Louis Malle, and Hans Hass, art films by Man Ray and Jean Vigo, and popular movies and television shows such as 20,000 Leagues Under the Sea, Creature from the Black Lagoon, Sea Hunt, the Bond films, Jaws, The Abyss, and Titanic. In exploring the cultural impact of underwater filmmaking, the book also asks compelling questions about the role film plays in engaging the public with the remote ocean, a frontline of climate change |
| Beschreibung: | xviii, 303 Seiten Illustrationen 8 ungezählte Blätter. - 24 cm |
| ISBN: | 9780691197975 |
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| 520 | 3 | |a In The Underwater Eye, Margaret Cohen tells the fascinating story of how the development of modern diving equipment and movie camera technology has allowed documentary and narrative filmmakers to take human vision into the depths, creating new imagery of the seas and the underwater realm, and expanding the scope of popular imagination. Innovating on the most challenging film set on earth, filmmakers have tapped the emotional power of the underwater environment to forge new visions of horror, tragedy, adventure, beauty, and surrealism, entertaining the public and shaping its perception of ocean reality. Examining works by filmmakers ranging from J. E. Williamson, inventor of the first undersea film technology in 1914, to Wes Anderson, who filmed the underwater scenes of his 2004 The Life Aquatic with Steve Zissou entirely in a pool, The Underwater Eye traces how the radically alien qualities of underwater optics have shaped liquid fantasies for more than a century. Richly illustrated, the book explores documentaries by Jacques Cousteau, Louis Malle, and Hans Hass, art films by Man Ray and Jean Vigo, and popular movies and television shows such as 20,000 Leagues Under the Sea, Creature from the Black Lagoon, Sea Hunt, the Bond films, Jaws, The Abyss, and Titanic. In exploring the cultural impact of underwater filmmaking, the book also asks compelling questions about the role film plays in engaging the public with the remote ocean, a frontline of climate change | |
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Datensatz im Suchindex
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CONTENTS List ofIllustrations Note on Timestamps Acknowledgments xi xvi xvii Intro duction i i Vision Immersed, 1840-1953 25 1.1 The Aquarium Is Not the Underwater Eye (immersive Vision 1840-1890) 25 1.2 Seeing through Water: Aquatic Perspective as Symbolic Form 37 ij The Early Underwater Cinema ofAttractions 53 1.4 Surrealism’s Aquatic Perspective: From Piscinéma to Aquatic 60 Humanism 1.5 Adventures in Underwater Film until 1933: The Constraints of the Cinematic Aquarium and the Advent of the Underwater Eye 75 1.6 Submarine Materiality and the Pleasures ofArtifice: Cecil B. DeMille’s Silken Kelp and Mechanical Squid 2 85 The Wet Camera, 1951-1961 89 2.1 The Post-World War II Revolution in Cinematic Access 89 2.2 20,000 Leagues Under the Sea: Theatrical Realism 99 2.3 The Silent World: Creating a New Shot Vocabularyfor the Aquatic Atmosphere 107 2.4 Diving to Adventure: Romanticism beneath the Waves 2.5 Sea Hunt: TV's Watery Epic 132 146 ix
X 3 CONTENTS Liquid Fantasies, 1963-2004 162 3.1 Symbiosis and Kinship: Flipper 164 3.2 The Underwater Peep Show: Thunderball 168 3.3 Horror Points of View of the Apex Predator and Its Prey: Jaws 176 3.4 Treasure Hunting amidst Underwater Moods: The Deep 182 3.5 The Alien Depths Look Back: The Abyss 186 3.6 The Blue Mind: The Big Blue 195 3.7 Aquatic Perspective Revealing Warped Society: From Sunset Boulevard to Inception 203 3.8 Tragic Patriotism, the Viewpoint of Drowning Soldiers and Sailors: Saving Private Ryan and Pearl Harbor 210 3.9 The Wave Spinning Air, Depths, and Surface: Big Wednesday and Point Break 212 3.10 The Wreckage of Civilization Submerged: Waterworld and Titanic 3.11 Sea ofFantasy: The Life Aquatic with Steve Zissou 215 222 Epilogue: On the Underwater Film Sets of Documentary: Fact and Fiction in Blue Planet II Notes 243 Works Cited Index 287 167 228 |
| adam_txt |
CONTENTS List ofIllustrations Note on Timestamps Acknowledgments xi xvi xvii Intro duction i i Vision Immersed, 1840-1953 25 1.1 The Aquarium Is Not the Underwater Eye (immersive Vision 1840-1890) 25 1.2 Seeing through Water: Aquatic Perspective as Symbolic Form 37 ij The Early Underwater Cinema ofAttractions 53 1.4 Surrealism’s Aquatic Perspective: From Piscinéma to Aquatic 60 Humanism 1.5 Adventures in Underwater Film until 1933: The Constraints of the Cinematic Aquarium and the Advent of the Underwater Eye 75 1.6 Submarine Materiality and the Pleasures ofArtifice: Cecil B. DeMille’s Silken Kelp and Mechanical Squid 2 85 The Wet Camera, 1951-1961 89 2.1 The Post-World War II Revolution in Cinematic Access 89 2.2 20,000 Leagues Under the Sea: Theatrical Realism 99 2.3 The Silent World: Creating a New Shot Vocabularyfor the Aquatic Atmosphere 107 2.4 Diving to Adventure: Romanticism beneath the Waves 2.5 Sea Hunt: TV's Watery Epic 132 146 ix
X 3 CONTENTS Liquid Fantasies, 1963-2004 162 3.1 Symbiosis and Kinship: Flipper 164 3.2 The Underwater Peep Show: Thunderball 168 3.3 Horror Points of View of the Apex Predator and Its Prey: Jaws 176 3.4 Treasure Hunting amidst Underwater Moods: The Deep 182 3.5 The Alien Depths Look Back: The Abyss 186 3.6 The Blue Mind: The Big Blue 195 3.7 Aquatic Perspective Revealing Warped Society: From Sunset Boulevard to Inception 203 3.8 Tragic Patriotism, the Viewpoint of Drowning Soldiers and Sailors: Saving Private Ryan and Pearl Harbor 210 3.9 The Wave Spinning Air, Depths, and Surface: Big Wednesday and Point Break 212 3.10 The Wreckage of Civilization Submerged: Waterworld and Titanic 3.11 Sea ofFantasy: The Life Aquatic with Steve Zissou 215 222 Epilogue: On the Underwater Film Sets of Documentary: Fact and Fiction in Blue Planet II Notes 243 Works Cited Index 287 167 228 |
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| index_date | 2024-07-03T19:26:12Z |
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| isbn | 9780691197975 |
| language | English |
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| spelling | Cohen, Margaret 1958- Verfasser (DE-588)144058774 aut The underwater eye how the movie camera opened the depths and unleashed new realms of fantasy Margaret Cohen Princeton ; Oxford Princeton University Press [2022] ©2022 xviii, 303 Seiten Illustrationen 8 ungezählte Blätter. - 24 cm txt rdacontent n rdamedia nc rdacarrier In The Underwater Eye, Margaret Cohen tells the fascinating story of how the development of modern diving equipment and movie camera technology has allowed documentary and narrative filmmakers to take human vision into the depths, creating new imagery of the seas and the underwater realm, and expanding the scope of popular imagination. Innovating on the most challenging film set on earth, filmmakers have tapped the emotional power of the underwater environment to forge new visions of horror, tragedy, adventure, beauty, and surrealism, entertaining the public and shaping its perception of ocean reality. Examining works by filmmakers ranging from J. E. Williamson, inventor of the first undersea film technology in 1914, to Wes Anderson, who filmed the underwater scenes of his 2004 The Life Aquatic with Steve Zissou entirely in a pool, The Underwater Eye traces how the radically alien qualities of underwater optics have shaped liquid fantasies for more than a century. Richly illustrated, the book explores documentaries by Jacques Cousteau, Louis Malle, and Hans Hass, art films by Man Ray and Jean Vigo, and popular movies and television shows such as 20,000 Leagues Under the Sea, Creature from the Black Lagoon, Sea Hunt, the Bond films, Jaws, The Abyss, and Titanic. In exploring the cultural impact of underwater filmmaking, the book also asks compelling questions about the role film plays in engaging the public with the remote ocean, a frontline of climate change Film (DE-588)4017102-4 gnd rswk-swf Unterwasserkamera (DE-588)4418306-9 gnd rswk-swf Underwater cinematography Motion pictures / Aesthetics Motion pictures / History Water in motion pictures Motion pictures History Unterwasserkamera (DE-588)4418306-9 s Film (DE-588)4017102-4 s DE-604 Erscheint auch als Online-Ausgabe 978-0-691-22552-4 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033273278&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Cohen, Margaret 1958- The underwater eye how the movie camera opened the depths and unleashed new realms of fantasy Film (DE-588)4017102-4 gnd Unterwasserkamera (DE-588)4418306-9 gnd |
| subject_GND | (DE-588)4017102-4 (DE-588)4418306-9 |
| title | The underwater eye how the movie camera opened the depths and unleashed new realms of fantasy |
| title_auth | The underwater eye how the movie camera opened the depths and unleashed new realms of fantasy |
| title_exact_search | The underwater eye how the movie camera opened the depths and unleashed new realms of fantasy |
| title_exact_search_txtP | The underwater eye how the movie camera opened the depths and unleashed new realms of fantasy |
| title_full | The underwater eye how the movie camera opened the depths and unleashed new realms of fantasy Margaret Cohen |
| title_fullStr | The underwater eye how the movie camera opened the depths and unleashed new realms of fantasy Margaret Cohen |
| title_full_unstemmed | The underwater eye how the movie camera opened the depths and unleashed new realms of fantasy Margaret Cohen |
| title_short | The underwater eye |
| title_sort | the underwater eye how the movie camera opened the depths and unleashed new realms of fantasy |
| title_sub | how the movie camera opened the depths and unleashed new realms of fantasy |
| topic | Film (DE-588)4017102-4 gnd Unterwasserkamera (DE-588)4418306-9 gnd |
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