Body Shots: Early Cinema’s IncarnationsUniversity of California Press, 2007 M10 9 - 214 páginas This original and compelling book places the body at the center of cinema's first decade of emergence and challenges the idea that for early audiences, the new medium's fascination rested on visual spectacle for its own sake. Instead, as Jonathan Auerbach argues, it was the human form in motion that most profoundly shaped early cinema. Situating his discussion in a political and historical context, Auerbach begins his analysis with films that reveal striking anxieties and preoccupations about persons on public display—both exceptional figures, such as 1896 presidential candidate William McKinley, and ordinary people caught by the movie camera in their daily routines. The result is a sharp, unique, and groundbreaking way to consider the turn-of-the-twentieth-century American incarnation of cinema itself. |
Dentro del libro
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Página 2
... medium of incarnation, in other words, seems at once totally obvi- ous and yet frustratingly difficult to articulate. But early cinema in its first decade (1893-1904) offers an especially forceful impetus to think about the body apart ...
... medium of incarnation, in other words, seems at once totally obvi- ous and yet frustratingly difficult to articulate. But early cinema in its first decade (1893-1904) offers an especially forceful impetus to think about the body apart ...
Página 7
... medium in the formation of a public sphere . In chapter 2 , I continue to look at the behavior of human figures in public , this time com- mon persons caught in the midst of their daily routines . Here I focus on actu- ality shots that ...
... medium in the formation of a public sphere . In chapter 2 , I continue to look at the behavior of human figures in public , this time com- mon persons caught in the midst of their daily routines . Here I focus on actu- ality shots that ...
Página 8
... medium such as cinema initially underwent " a crisis of identity " rather than a dis- crete birth . But Altman threatens to undermine his own powerful insights by insisting on absolute historical continuity with the past at the expense ...
... medium such as cinema initially underwent " a crisis of identity " rather than a dis- crete birth . But Altman threatens to undermine his own powerful insights by insisting on absolute historical continuity with the past at the expense ...
Página 9
... medium whereby our world comes into being , " as Leder eloquently remarks . Yet while Merleau - Ponty offers an optimistic assessment of the synthetic or unifying capacity of our corporeal schema — that is , our constantly changing ...
... medium whereby our world comes into being , " as Leder eloquently remarks . Yet while Merleau - Ponty offers an optimistic assessment of the synthetic or unifying capacity of our corporeal schema — that is , our constantly changing ...
Página 10
... medium, the chronophotography of Etienne-Jules Marey is decisive. Starting in the 1860s, and continuing past the turn of the century, Marey sought to analyze and freeze bodies in motion through a series of experiments using ...
... medium, the chronophotography of Etienne-Jules Marey is decisive. Starting in the 1860s, and continuing past the turn of the century, Marey sought to analyze and freeze bodies in motion through a series of experiments using ...
Contenido
1 | |
Part I Bodies in Public | 13 |
Sounding the Origins of Cinema | 63 |
Part II Bodies in Space | 83 |
The Stilled Body | 124 |
Notes | 137 |
Bibliography | 179 |
Index | 195 |
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Términos y frases comunes
action Adam Baker American Fireman analysis apparatus audience Baldwin Barthes Berkeley Biograph body British Film Institute California Press Cambridge catalog century chapter Charles Musser chase films Cinema of Attractions classic Hollywood corporeal cultural Czolgosz death depicting Dickson Diderot discussion disembodied Duke University Press early cinema early films Edison Motion Pictures effect Emergence of Cinema emphasize essay Étienne-Jules Marey figures film’s filmmakers fire run frame gesture Gunning Harvard University Press human interesting James Mark Baldwin kind kinetoscope London Lumière lunatic Marey Mass McKinley at Home McKinley’s medium Minnesota Press Modernity movement movie camera moving images moving pictures narrative newspaper Nickelodeon Noël Burch photographs Porter Psychology public sphere reading relation representation reprinted scene screen self-consciousness shot social sort sound space spatial spectators spectatorship speech stage suggests theater Theory Thomas Elsaesser tion trans turn University of California vaudeville viewers visual Wilhelm Wundt William William McKinley window Wundt York
Pasajes populares
Página 152 - Properly speaking, a man has as many social selves as there are individuals who recognize him and carry an image of him in their mind.
Página 49 - My sense of myself grows by imitation of you, and my sense of yourself grows in terms of my sense of myself. Both ego and alter are thus essentially social; each is a socius and each is an imitative creation.
Página 65 - I am experimenting upon an instrument which does for the eye what the phonograph does for the ear...
Página 47 - A self-idea of this sort seems to have three principal elements: the imagination of our appearance to the other person; the imagination of his judgment of that appearance, and some sort of self-feeling, such as pride or mortification.
Página 48 - The thing that moves us to pride or shame is not the mere mechanical reflection of ourselves, but an imputed sentiment, the imagined effect of this reflection upon another's mind.
Página 172 - The psychological basis of the metropolitan type of individuality consists in the intensification of nervous stimulation which results from the swift and uninterrupted change of outer and inner stimuli.
Página 31 - Cuba. In the name of humanity, in the name of civilization, in behalf of endangered American interests which give us the right and the duty to speak and to act, the war in Cuba must stop.
Página 136 - lifelike" we strive to make it (and this frenzy to be lifelike can only be our mythic denial of an apprehension of death). Photography is a kind of primitive theater...
Página 136 - We know the original relation of the theater and the cult of the Dead: the first actors separated themselves from the community by playing the role of the Dead: to make oneself up was to designate oneself as a body simultaneously living and dead...