Richmond Scott C. Cinema`s Bodily Illusions: Flying, Floating, and Hallucinating 9780816690992

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Автор: Richmond Scott C.
Название: Cinema`s Bodily Illusions: Flying, Floating, and Hallucinating
ISBN: 9780816690992
Издательство: Mare Nostrum (Eurospan)
Классификация:

Теория и критика кино

Кино: стили и жанры

ISBN-10: 0816690995
Обложка/Формат: Paperback
Страницы: 264
Вес: 0.29 кг.
Дата издания: 15.10.2016
Язык: English
Размер: 191 x 217 x 18
Ключевые слова: Electronic, holographic & video art,Film theory & criticism, ART / Film & Video,PERFORMING ARTS / General,PERFORMING ARTS / Film & Video / General,PERFORMING ARTS / Film & Video / History & Criticism
Подзаголовок: Flying, floating, and hallucinating
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Поставляется из: Англии
Описание: Do contemporary big-budget blockbuster films like Gravity move something in us that is fundamentally the same as what avant-garde and experimental films have done for more than a century? In a powerful challenge to mainstream film theory, Cinema\u2019s Bodily Illusions demonstrates that this is the case. Scott C. Richmond bridges genres and periods by focusing, most palpably, on cinema\u2019s power to evoke illusions: feeling like you\u2019re flying through space, experiencing 3D without glasses, or even hallucinating. He argues that cinema is, first and foremost, a technology to modulate perception. He presents a theory of cinema as a proprioceptive technology: cinema becomes art by modulating viewers\u2019 embodied sense of space. It works primarily not at the level of the intellect but at the level of the body. Richmond develops his theory through examples of direct perceptual illusion in cinema: hallucinatory flicker phenomena in Tony Conrad\u2019s The Flicker, eerie depth effects in Marcel Duchamp\u2019s An\u00e9mic Cin\u00e9ma, the illusion of bodily movement through onscreen space in Stanley Kubrick\u2019s 2001, Godfrey Reggio\u2019s Koyaanisqatsi, and Alfonso Cuar\u00f3n\u2019s Gravity. In doing so he combines insights from Maurice Merleau-Ponty\u2019s phenomenology of perception and James J. Gibson\u2019s ecological approach to perception. The result is his distinctive ecological phenomenology, which allows us to refocus on the cinema\u2019s perceptual, rather than representational, power.Arguing against modernist habits of mind in film theory and aesthetics, and the attendant proclamations of cinema\u2019s death or irrelevance, Richmond demonstrates that cinema\u2019s proprioceptive aesthetics make it an urgent site of contemporary inquiry.
Дополнительное описание: Digital, video and new media arts|Films, cinema|Film history, theory or criticism

Cinema`s Bodily Illusions: Flying, Floating, and Hallucinating, Richmond Scott C.