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Exposing the Film Apparatus
Contributors with a wide range of expertise in the film and media world consider the practical and theoretical challenges posed by changing formats and technologies.
Ostrannenie
Summary: Defamiliarisation or ostrannenie, the artistic technique of forcing the audience to see common things in an unfamiliar or strange way, in order to enhance perception of the familiar, ihas become one of the central concept of modern artistic practice, ranging over movements including Dada, postmodernism, epic theatre, and science fiction, as well as our response to arts. Coined by the Soviet literary critic Victor Shklovskii in 1917, ostrannenie has come to resonate deeply in film studies, where it entered into dialogue with the French philosopher Derrida's concept of differance, bordering on 'differing' and 'deferring'. Striking, provocative and incisive, the essays of the distinguished film scholars in this volume recall the range and depth of a concept that since 1917 changed the trajectory of theoretical inquiry.
Audiences
"This timely volume engages with one of the most important shifts in recent film studies: the turn away from text-based analysis towards the viewer. Historically, this marks a return to early interest in the effect of film on the audience by psychoanalysts and psychologists, which was overtaken by concern with the 'effects' of film, linked to calls for censorship and moral panics rather than to understanding the mental and behavioral world of the spectator. Early cinema history has revealed the diversity of film-viewing habits, while traditional 'box office' studies, which treated the audience initially as a homogeneous market, have been replaced by the study of individual consumers and thei...
Technē/Technology
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Doing Experimental Media Archaeology
In recent years, there has been a growing interest in the use of experimental approaches to the study of media histories and their cultures. Doing media archaeological experiments, such as historical re-enactments and hands-on simulations with media historical objects, helps us to explore and better understand the workings of past media technologies and their practices of use. By systematically refl ecting on the methodological underpinnings of experimental media archaeology as a relatively new approach in media historical research and teaching, this book aims to serve as a practical handbook for doing media archaeological experiments. Doing Experimental Media Archaeology: Practice is the twin volume to Doing Experimental Media Archaeology: Theory, authored by Andreas Fickers and Annie van den Oever.
Inventing Cinema
With machines mediating most of our cultural practices, and innovations, obsolescence and revivals constantly transforming our relation with images and sounds, media feel more unstable than ever. But was there ever a "stable" moment in media history? Inventing Cinema proposes to approach this question through an archaeology and an epistemology of media machines. The archaeology analyses them as archives of users' gestures, as well as of modes of perception. The epistemology reconstructs the problems that the machines' designers and users have strived to solve, and the network of concepts they have elaborated to understand these problems. Drawing on the philosophy of technology and anthropology, Inventing Cinema argues that networks of gestures, problems, perception and concepts are inscribed in vision machines, from the camera obscura to the stereoscope, the Cinématographe, and digital cinema. The invention of cinema is ultimately seen as an ongoing process irreducible to a single moment in history.
Technē/Technology
This fourth title in the series 'The key debates' sets out where the term "technē" comes from, how it released a revolution in thought and how the concept in the midst of the current digital revolution, once again, is influencing the study of film. In addition, the authors investigate how technologies have affected the major debates about film, how they affected film theory and some of its key concepts. This is one of the first books to assess the comprehensive history of the philosophies of technology and their impact on film and media theory in greater detail.
Silent Film Performance
This book provides a groundbreaking exploration of silent film performance. It combines close reading of silent screen acting with theoretically informed analysis, stressing the overlap between different performative arts, such as film and stage acting, dance, mime, and pantomime. The boundary between silent and sound films is also challenged. Anna Pavlova’s acting in The Dumb Girl of Portici is read through Freud’s work on the uncanny, disability studies, and notions of intermediality. Vladimir Mayakovsky’s performance in The Young Lady and the Hooligan is approached as a silent soliloquy and a representation of loneliness. Ivan Mozzhukhin’s tour de force in The Late Mathias Pascal is discussed through a queer failure lens, while Pola Negri’s presence in Hotel Imperial is analysed with the aid of texts on wartime anxiety. Harald Kreutzberg’s stunning number in Paracelsus is examined in the light of theories of mime and pantomime, arguing for its subversive potential in a Third Reich sound film.
Film Phenomenology and Adaptation
Film Phenomenology and Adaptation: Sensuous Elaboration argues that in order to make sense of film adaptation, we must first apprehend their sensual form. Across its chapters, this book brings the philosophy and research methodology of phenomenology into contact with adaptation studies, examining how vision, hearing, touch, and the structures of the embodied imagination and memory thicken and make tangible an adaptation's source. In doing so, this book not only conceives adaptation as an intertextual layering of source material and adaptation, but also an intersubjective and textural experience that includes the materiality of the body.
Byzantine Media Subjects
Byzantine Media Subjects invites readers into a world replete with images—icons, frescoes, and mosaics filling places of worship, politics, and community. Glenn Peers asks readers to think themselves into a world where representation reigned and humans followed, and indeed were formed. Interrogating the fundamental role of representation in the making of the Byzantine human, Peers argues that Byzantine culture was (already) posthuman. The Byzantine experience reveals the extent to which media like icons, manuscripts, music, animals, and mirrors fundamentally determine humans. In the Byzantine world, representation as such was deeply persuasive, even coercive; it had the power to affect human relationships, produce conflict, and form self-perception. Media studies has made its subject the modern world, but this book argues for media having made historical subjects. Here, it is shown that media long ago also made Byzantine humans, defining them, molding them, mediating their relationship to time, to nature, to God, and to themselves.
