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Vertov, Snow, Farocki: Machine Vision and the Posthuman, David Tomas


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Автор: David Tomas
Название:  Vertov, Snow, Farocki: Machine Vision and the Posthuman
ISBN: 9781441169150
Издательство: Bloomsbury Academic
Классификация:
ISBN-10: 1441169156
Обложка/Формат: Hardback
Страницы: 304
Вес: 0.59 кг.
Дата издания: 24.10.2013
Серия: Arts
Язык: English
Иллюстрации: 60 bw illus
Размер: 231 x 152 x 25
Читательская аудитория: Professional and scholarly
Ключевые слова: Films, cinema,Individual film directors, film-makers, PERFORMING ARTS / Film & Video / General,PERFORMING ARTS / Film & Video / Direction & Production
Основная тема: Individual film directors, film-makers,PERFORMING ARTS / Film & Video / Direction & Production,PERFORMING ARTS / Film & Video / General,Films, cinema
Подзаголовок: Machine vision and the posthuman
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Поставляется из: Англии
Описание:

Vertov, Snow, Farocki: Machine Vision and the Posthuman begins with a comprehensive and original anthropological analysis of Vertovs film The Man With a Movie Camera. Tomas then explores the films various aspects and contributions to media history and practice through detailed discussions of selected case studies. The first concerns the way Snows La R gion Centrale and De La extend and/or develops important theoretical and technical aspects of Vertovs original film, in particular those aspects that have made the film so important in the history of cinema. The linkage between Vertovs film and the works discussed in the case studies will also serve to illustrate the historical and theoretical significance of a comparative approach of this kind, and illustrate the pertinence of adopting a relational approach to the history of media and its contemporary practice, an approach that is no longer focused exclusively on the technical question of the new in contemporary media practices but, in contrast, situates a work and measures its originality in historical, intermedia, and ultimately political terms.


Дополнительное описание: Introduction Part I: Threshold: When a Ritual Process Speaks of Machine Vision and Cyborg Prototypes: A Film Document, Circa 1929 Chapter 1. Manufacturing Vision and the Posthuman Circa 1929: Kino-eye, The Man with a Mo



Dziga Vertov: Life and Work (Volume 1: 1896a 1921)

Автор: MacKay John
Название: Dziga Vertov: Life and Work (Volume 1: 1896a 1921)
ISBN: 1618117343 ISBN-13(EAN): 9781618117342
Издательство: Mare Nostrum (Eurospan)
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Цена: 17048.00 р.
Наличие на складе: Есть у поставщика Поставка под заказ.

Описание: The most extensive study of the life and corpus of any Russian or Soviet filmmaker, this book reinserts Dziga Vertov`s films into the complex epoch in which he worked, the theoretical debates in which he participated, and the reception his writings and films have generated.

Vertov, Snow, Farocki: Machine Vision and the Posthuman

Автор: David Tomas
Название: Vertov, Snow, Farocki: Machine Vision and the Posthuman
ISBN: 1501307290 ISBN-13(EAN): 9781501307294
Издательство: Bloomsbury Academic
Рейтинг:
Цена: 6018.00 р.
Наличие на складе: Есть у поставщика Поставка под заказ.

Описание: Vertov, Snow, Farocki: Machine Vision and the Posthuman begins with a comprehensive and original anthropological analysis of Vertov's film The Man With a Movie Camera. Tomas then explores the film's various aspects and contributions to media history and practice through detailed discussions of selected case studies. The first concerns the way Snow's La Region Centrale and De La extend and/or develop important theoretical and technical aspects of Vertov's original film, in particular those aspects that have made the film so important in the history of cinema. The linkage between Vertov's film and the works discussed in the case studies also serve to illustrate the historical and theoretical significance of a comparative approach of this kind, and illustrate the pertinence of adopting a 'relational approach' to the history of media and its contemporary practice, an approach that is no longer focused exclusively on the technical question of the new in contemporary media practices but, in contrast, situates a work and measures its originality in historical, intermedia, and ultimately political terms.


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