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 The Cinema Effect by Sean Cubitt

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classadmi
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Registration date : 2007-07-01

The Cinema Effect by Sean Cubitt Empty
PostSubject: The Cinema Effect by Sean Cubitt   The Cinema Effect by Sean Cubitt Icon_minitimeTue Jul 24, 2007 2:16 pm

The Cinema Effect by Sean Cubitt F83f55463450c5b85a19d3a5cc283f1b

The Cinema Effect by Sean Cubitt (Author)
Publisher: The MIT Press (March 1, 2004) | ISBN-10: 0262033127 | PDF | 6,5 Mb | 464 pages

It
has been said that all cinema is a special effect. In this highly
original examination of time in film Sean Cubitt tries to get at the
root of the uncanny effect produced by images and sounds that don\'t
quite align with reality. What is it that cinema does? Cubitt proposes
a history of images in motion from a digital perspective, for a digital
audience. From the viewpoint of art history, an image is discrete,
still. How can a moving image--constructed from countless constituent
images--even be considered an image?

And where in time is an
image in motion located? Cubitt traces the complementary histories of
two forms of the image'motion relationship--the stillness of the image
combined with the motion of the body (exemplified by what Cubitt calls
the "protocinema of railway travel") and the movement of the image
combined with the stillness of the body (exemplified by melodrama and
the magic lantern). He argues that the magic of cinema arises from the
intertwining relations between different kinds of movement, different
kinds of time, and different kinds of space. He begins with a
discussion of "pioneer cinema," focusing on the contributions of French
cinematic pioneers in the late nineteenth and early twentieth
centuries. He then examines the sound cinema of the 1930s, examining
film effects in works by Eisenstein, Jean Renoir, and Hollywood's RKO
studio. Finally he considers what he calls "post cinema," examining the
postwar development of the "spatialization" of time through slow
motion, freeze-frame, and steadi-cam techniques. Students of film will
find Cubitt's analyses of noncanonical films like Sam Peckinpah's Pat
Garrett and Billy the Kid as enlightening as his fresh takes on such
classics as Renoir's Rules of the Game.



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