Audiovisions: Cinema and Television as Entr'actes in HistoryAmsterdam University Press, 1999 - 356 páginas The production, distribution, and perception of moving images are undergoing a radical transformation. Ever-faster computers, digital technology, and microelectronic are joining forces to produce advanced audiovision -the media vanishing point of the 20th century. Very little will remain unchanged. The classic institutions for the mediation of film - cinema and television - are revealed to be no more than interludes in the broader history of the audiovisual media. This book interprets these changes not simply as a cultural loss but also as a challenge: the new audiovisions have to be confronted squarely to make strategic intervention possible. Audiovisions provides a historical underpinning for this active approach. Spanning 100 years, from the end of the 19th to the end of the 20th century, it reconstructs the complex genesis of cinema and television as historically relative - and thus finite - cultural forms, focussing on the dynamics and tension in the interaction between the apparatus and its uses. The book is also a plea for "staying power" in studies of cultural technology and technological culture of film. Essayistic in style, it dispenses with complicated cross references and, instead, is structured around distinct historical phases. Montages of images and text provide supplemental information, contrast, and comment. |
Contenido
Preface to the English Edition | 7 |
Vanishing Point Cinema | 25 |
Between the Wars | 105 |
Vanishing Point Television? | 183 |
No Longer Cinema No Longer Television | 219 |
Conclusion | 273 |
Notes | 305 |
| 319 | |
Acknowledgements | 347 |
Otras ediciones - Ver todas
Audiovisions: Cinema and Television as Entr'actes in History Siegfried Zielinski Vista completa - 1999 |
Audiovisions: Cinema and Television as Entr'actes in History Siegfried Zielinski Sin vista previa disponible - 1999 |
Términos y frases comunes
acoustic advanced audiovision advertising aesthetic apparatus artefacts artists audience audiovision audiovisual became become began Berlin broadcasting Cahiers du Cinéma camera century chronophotography cinema cinematographic Cinéorama Cited commodities communications computer animation culture industry decade developed discourse dispositif economic Edison electrical electronic entertainment everyday example Exhibition experience factory Fernseh Fernsehen film filmic German illusions of motion images industrialised Jean-Luc Godard JUD SÜSS Kinetoscope machines magic lantern mass material mechanical medium ment mise-en-scène models movement Muybridge Nazi networks organised Paris particularly patent perception perspective photographic possible Praxinoscope praxis private sphere production programmes projector radio realisation reception Reichsmarks reproduction scanning screen sion social sound sound film space stage structure studio subjects technical Telefunken telegraphy television set theatre tion transmission transmitted ture use-value utilisation Veit Harlan video recorder viewers vision visual Zielinski