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Scott C. Richmond 作者

University of Minnesota Press

译者

2016-10-15 出版日期

264 页数

USD 30.00 价格

Paperback

丛书系列

9780816690992 图书编码

Cinema's Bodily Illusions 在线电子书图书标签: 身體—影像身体-影像身体哲学 theory phenomenology filmstudies cognitive

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发表于2024-07-03

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Cinema's Bodily Illusions 在线电子书 epub 下载 mobi 下载 pdf 下载 txt 下载 2024

Cinema's Bodily Illusions 在线电子书 pdf 下载 txt下载 epub 下载 mobi 下载 2024

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3.5 Fantastic analysis of Cavellian modernism and its relationship to skepticism. I'm not convinced by the dichotomy between the body and modernism-- the body as zone of indetermination, modernism as critical demystification. His characterization of technics and cinema is very problematic. The result of too much Stiegler, not enough Leroi-Gourhan.

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Cinema's Bodily Illusions 在线电子书著者简介

Scott C. Richmond is assistant professor of cinema and digital media in the Cinema Studies Institute at the University of Toronto.

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Cinema's Bodily Illusions 在线电子书 pdf 下载 txt下载 epub 下载 mobi 在线电子书下载

Cinema's Bodily Illusions 在线电子书图书描述

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’s Bodily Illusions demonstrates that this is the case.

Scott C. Richmond bridges genres and periods by focusing, most palpably, on cinema’s power to evoke illusions: feeling like you’re 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’ 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’s The Flicker, eerie depth effects in Marcel Duchamp’s Anémic Cinéma, the illusion of bodily movement through onscreen space in Stanley Kubrick’s 2001, Godfrey Reggio’s Koyaanisqatsi, and Alfonso Cuarón’s Gravity. In doing so he combines insights from Maurice Merleau-Ponty’s phenomenology of perception and James J. Gibson’s ecological approach to perception. The result is his distinctive ecological phenomenology, which allows us to refocus on the cinema’s perceptual, rather than representational, power.

Arguing against modernist habits of mind in film theory and aesthetics, and the attendant proclamations of cinema’s death or irrelevance, Richmond demonstrates that cinema’s proprioceptive aesthetics make it an urgent site of contemporary inquiry.

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