Cinema's Bodily Illusions 2024 pdf epub mobi 电子书

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Cinema's Bodily Illusions 2024 pdf epub mobi 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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发表于2024-11-27

Cinema's Bodily Illusions 2024 pdf epub mobi 电子书

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出版者:University of Minnesota Press

作者:Scott C. Richmond

出品人:

页数:264

译者:

出版时间:2016-10-15

价格:USD 30.00

装帧:Paperback

isbn号码:9780816690992

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图书标签: 身體—影像身体-影像身体哲学 theory phenomenology filmstudies cognitive

Cinema's Bodily Illusions 2024 pdf epub mobi 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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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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