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Film History as Media Archaeology

Tracking Digital Cinema
Amsterdam University Presserschienen am01.07.2016
Thomas Elsaesser is professor emeritus of film and television studies in the Department of Art and Culture at the University of Amsterdam.
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Produkt

KlappentextThomas Elsaesser is professor emeritus of film and television studies in the Department of Art and Culture at the University of Amsterdam.
Details
Weitere ISBN/GTIN9789048529964
ProduktartE-Book
EinbandartE-Book
FormatPDF
Erscheinungsjahr2016
Erscheinungsdatum01.07.2016
Seiten341 Seiten
SpracheEnglisch
Dateigrösse1741
Artikel-Nr.5263263
Rubriken
Genre9200

Inhalt/Kritik

Inhaltsverzeichnis

Cover

Contents

Acknowledgements

Film History as Media Archaeology

Is Media Archaeology a Supplement to or a Substitute for Film History?

Walter Benjamin and the Modernity Thesis

Noël Burch and "Primitive Cinema"

The Legacy of Michel Foucault

Media Archaeology by Default as well as by Design

Media Archaeology and the Digital Turn

Four Dominant Approaches

Media Archaeology and the Museum World

The Amsterdam Media Archaeology Network

The Deep Time of Media, or the Place of Cinema in (Media) History

The Archive: Crises in History and Memory

The Crisis in Narrative: Transmedia Studies and Participatory Culture

The Limits of Media Archaeology

I - Early Cinema

Introduction

Early Cinema as Key to the New Media Paradigms?

The Cinema of Attractions: Early Cinema, Avant-garde, Post-Classical, and Digital Media

Media Archaeology I: Film History between Teleologies and Retroactive Causalities

Media Archaeology II: Family Tree or Family Resemblance?

Media Archaeology III: What is Cinema, Where is Cinema, and When is Cinema?

"M" is for Media Archaeology

The Dispositif Cinema: Conditions of Possibility, Definitions

The Cinematic Apparatus Between High Theory and Media Archaeology

Dispositif Mark 1: What was Cinema?

Dispositif Mark 2: Early Cinema

Dispositif Mark 3: Installation Art and the Moving Image

Dispositif Mark 4: Encounter and Event

The Dispositif as Interface?

Vanishing Points: Infinity versus Ubiquity

II - The Challenge of Sound

A System of Double Address

Das Lied einer Nacht: Modernism versus Modernization

Horror Vacui or Ontological Vertigo?

Radio and Cinema

Going Live as Staying Alive

The Film Industry and Avant-garde

International Cooperation against National Profiling

Painting with Time: Ruttmann and the Physiognomy of the Curve

"Sound film is the topic of the day"-the pivotal years: 1929-30

1929 Melodie der Welt

The Film Author and the Commission: Ruttmann and the Industry

Ruttmann Believes It

III - Archaeologies of Interactivity

Attention - Problem or Solution?

The Rube Films: Towards a Theory of Embedded Attention

The (Extra-)Diegetic Spaces of Early Cinema

The Return of the Rube

Towards a New Reflexivity

Here-Me-Now

Constructive Instability

Performed Failure: Narratives of Collapse

The Honda Cog

Der Lauf der Dinge

Around the World in Eighty Clicks

Cluster and Forking Path "Rube Goldberg"

Cluster and Forking Path "Pythagoras Switch"

Cluster and Forking Path "Domino Day" and Celebrity TV

Between Epiphany and Entropy

IV - Digital Cinema

Deconstructing the Digital

Digital Delivery and Film Production

Cinema: The Art and Act of Record?

Television and the Media Event

Cinema as Social Event and Site

The Digital Media as Event

The Digital as Cultural Metaphor

Can Film History Go Digital?

It's Business as Usual

As Usual, It's Business

The Digital: Technological Standard or Epistemological Rupture?

Cinema: An Invention that Has No Origins

Film in the Expanded Field

V - New Genealogies of Cinema

Trains of Thought

Digital 3D: Case Already Closed?

The Tail Wags the Dog

Playing Catch-up to the Revolution in Sound?

The Many Histories of 3D-and a Different Genealogy for Cinema

What is an Image Today?

To Lie and to Act: Operational Images

Enlarging the Cast of Actors, Interacting

A Different Media Archaeology of Cinema?

Cinema and Energy: A Multiple Agenda

Movement: Analytic and Synthetic

Still/Moving

Five Types of Energy

Energy Exchange: Physical, Physiological, Psychological?

Towards a Holistic Theory of Energy: Humans and Things

Cinema and Entropy: The Human Motor and Fatigue

Workers Leaving the Factory: Cinema, the Disease of which it Pretends to be the Cure?

From Energy to Information: Attention, Affective, and Perceptual Labor

VI - Media Archaeology as Symptom

11. Media Archaeology as the Poetics of Obsolescence

Media Archaeology: Making the Past Strange Again

Obsolescence as Meta-Mechanics

The Ends of History or the Borders of History?

Media Memory as a Challenge to History

Obsolescence Begets Scarcity, and Scarcity Creates Value

The Museum: A Politics of Obsolescence

The Artist: A Poetics of Obsolescence

12. Media Archaeology as Symptom

Media Archaeology as Crisis Management

Alternative Genealogies: Friedrich Kittler

Two Kinds of Media Archaeology

Mobility, Portability, Commodity

Geometrical Optics and Physiological Optics

Media Archaeology as the Ideology of the Digital?

Media Archaeology - Selected Bibliography

Index of Film Titles

Index of Key Words

Index of Namesmehr