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 3
... simply explaining how this first decade of cin- ema differed sharply from the classic Hollywood narratives that followed but also how such "attractions" bear close affinity to avant-garde and post- Hollywood productions, including ...
... simply explaining how this first decade of cin- ema differed sharply from the classic Hollywood narratives that followed but also how such "attractions" bear close affinity to avant-garde and post- Hollywood productions, including ...
Página 4
... simply a symptom or reflection of the shock of the new, early cinema, so the argument goes, helped define modernity and bring it into being. In this regard, Gunning's eloquent and oft-cited 1989 article "An Aes- thetic of Astonishment ...
... simply a symptom or reflection of the shock of the new, early cinema, so the argument goes, helped define modernity and bring it into being. In this regard, Gunning's eloquent and oft-cited 1989 article "An Aes- thetic of Astonishment ...
Página 6
... simply for its own sake (see chapter 1); its stark binary polarization between sensation and narration (see the interlude); and its version of film history (see chapter 3). But I regard these as skirmishes, not major battles. Drawing on ...
... simply for its own sake (see chapter 1); its stark binary polarization between sensation and narration (see the interlude); and its version of film history (see chapter 3). But I regard these as skirmishes, not major battles. Drawing on ...
Página 7
... simply to dismiss such an approach out of hand by presuming that these films individually do not merit such close hermeneutic consideration . To say that from the start the filmmaking of Edison or Auguste and Louis Lumiere was too ...
... simply to dismiss such an approach out of hand by presuming that these films individually do not merit such close hermeneutic consideration . To say that from the start the filmmaking of Edison or Auguste and Louis Lumiere was too ...
Página 11
... simply move at random or according to the laws of physics, but rather they move in particular ways toward specific places for given purposes. In short, human action is moti- vated. This simple fact remained a source of wonder for ...
... simply move at random or according to the laws of physics, but rather they move in particular ways toward specific places for given purposes. In short, human action is moti- vated. This simple fact remained a source of wonder for ...
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...