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eBook The Cinema Effect (The MIT Press) ePub

eBook The Cinema Effect (The MIT Press) ePub

by Sean Cubitt

  • ISBN: 0262532778
  • Category: Movies
  • Subcategory: Entertainment
  • Author: Sean Cubitt
  • Language: English
  • Publisher: The MIT Press (September 23, 2005)
  • Pages: 472
  • ePub book: 1813 kb
  • Fb2 book: 1425 kb
  • Other: mobi lrf rtf docx
  • Rating: 4.9
  • Votes: 301

Description

He then examines the sound cinema of the 1930s, examining film effects in works by Eisenstein, Jean Renoir, and .

He then examines the sound cinema of the 1930s, examining film effects in works by Eisenstein, Jean Renoir, and Hollywood's RKO studio. Finally he considers what he calls "post cinema," examining the postwar development of the "spatialization" of time through slow motion, freeze-frame, and steadi-cam techniques. Students of film will find Cubitt's analyses of noncanonical films like Sam Peckinpah's Pat Garrett and Billy the Kid as enlightening as his fresh takes on such classics as Renoir's Rules of the Game.

It has been said that all cinema is a special effect. In this highly original examination of time in film Sean Cubitt tries to get at the root of the uncanny effect produced by images and sounds that don't quite align with reality

It has been said that all cinema is a special effect. In this highly original examination of time in film Sean Cubitt tries to get at the root of the uncanny effect produced by images and sounds that don't quite align with reality. What is it that cinema does? Cubitt proposes a history of images in motion from a digital perspective, for a digital audience. From the viewpoint of art history, an image is discrete, still. How can a moving image-constructed from countless constituent images-even be considered an image? And where in time is an image in motion located?

Download Now. saveSave The Cinema Effect - Sean Cubitt For Later. Cinema’s first effect is to exist

Download Now. This book was set in Janson and Rotis Semi Sans by Graphic Compostion, In. and was printed and bound in the United States of America. Cinema’s first effect is to exist. Certainly you could measure physiological dilations and palpitations to ascertain the reality of a film’s emotional clout.

by. Cubitt, Sean, 1953-. inlibrary; printdisabled; trent university;. It has been said that all cinema is a special effect.

Sean Cubitt’s book, The Cinema Effect, is an intricate philosophical analysis of film. Following from studies like Gilles Deleuze’s Cinema 1 and Cinema 2, Stephen Shaviro’s The Cinematic Body and . Rodowick’s Gilles Deleuze’s Time Machine, Cubitt. Rodowick’s Gilles Deleuze’s Time Machine, Cubitt chooses to look at film’s materiality. The materiality they seek to explore is the fundamental existence of the image. Moreover, this is a complicated idea of materiality, for these studies don’t simply consider the image as a moving photograph

Are you sure you want to remove The cinema effect, Sean Cubitt. Published 2004 by MIT Press in Cambridge, Mass.

Are you sure you want to remove The cinema effect, Sean Cubitt. from your list? The cinema effect, Sean Cubitt.

Sean Cubitt casts a cool eye on the claims of cybertopians, tracing the globalization of the new medium and enquiring into its effects on subjectivity and sociality. Drawing on historical scholarship, philosophical aesthetics and the literature of cyberculture, the author argues for a genuine democracy beyond the limitations of the free market and the global corporation. Digital arts are identified as having a vital part to play in this process.

Sean Cubitt The Cinema Effect Cambridge, Massachusetts: MIT Press, 2004 ISBN 0-262-03312-7 456 p.

Sean Cubitt The Cinema Effect Cambridge, Massachusetts: MIT Press, 2004 ISBN 0-262-03312-7 456 pp. Do you want to read the rest of this article? Request full-text.

A history of images in motion that explores the "special effect" of cinema.

It has been said that all cinema is a special effect. In this highly original examination of time in film Sean Cubitt tries to get at the root of the uncanny effect produced by images and sounds that don't quite align with reality. What is it that cinema does? Cubitt proposes a history of images in motion from a digital perspective, for a digital audience.

From the viewpoint of art history, an image is discrete, still. How can a moving image―constructed from countless constituent images―even be considered an image? And where in time is an image in motion located? Cubitt traces the complementary histories of two forms of the image/motion relationship―the stillness of the image combined with the motion of the body (exemplified by what Cubitt calls the "protocinema of railway travel") and the movement of the image combined with the stillness of the body (exemplified by melodrama and the magic lantern). He argues that the magic of cinema arises from the intertwining relations between different kinds of movement, different kinds of time, and different kinds of space.

He begins with a discussion of "pioneer cinema," focusing on the contributions of French cinematic pioneers in the late nineteenth and early twentieth centuries. He then examines the sound cinema of the 1930s, examining film effects in works by Eisenstein, Jean Renoir, and Hollywood's RKO studio. Finally he considers what he calls "post cinema," examining the postwar development of the "spatialization" of time through slow motion, freeze-frame, and steadi-cam techniques. Students of film will find Cubitt's analyses of noncanonical films like Sam Peckinpah's Pat Garrett and Billy the Kid as enlightening as his fresh takes on such classics as Renoir's Rules of the Game.