Ex-centric cinema : Giorgio Agamben and film archaeology
著者
書誌事項
Ex-centric cinema : Giorgio Agamben and film archaeology
（Thinking cinema, v. 10）
Bloomsbury Academic, 2016
- : pb
- タイトル別名
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Excentric cinema
大学図書館所蔵 件 / 全3件
注記
Includes bibliographical references (p. [235]-244) and index
内容説明・目次
内容説明
In the beginning, cinema was an encounter between humans, images and machine technology, revealing a stream of staccato gestures, micrographic worlds, and landscapes seen from above and below. In this sense, cinema's potency was its ability to bring other, non-human modes of being into view, to forge an encounter between multiple realities that nonetheless co-exist. Yet the story of cinema became (through its institutionalization) one in which the human swiftly assumed centrality through the literary crafting of story, character and the expression of interiority.
Ex-centric Cinema takes an archaeological approach to the study of cinema through the writings of philosopher Giorgio Agamben, arguing that whilst we have a century-long tradition of cinema, the possibility of what cinema may have become is not lost, but co-exists in the present as an unexcavated potential. The term given to this history is ex-centric cinema, describing a centre-less moving image culture where animals, children, ghosts and machines are privileged vectors, where film is always an incomplete project, and where audiences are a coming community of ephemeral connections and links. Discussing such filmmakers as Harun Farocki, the Lumiere Brothers, Guy Debord and Wong Kar-wai, Janet Harbord draws connections with Agamben to propose a radically different way of thinking about cinema.
目次
Introduction
1 Ex-centric Cinema: An Archaeological Method
2 Mute Cinema: Gesture and the Impression of Character
3 Animal: Cinema as an Anthropological Machine
4 Profaning the Cinematic: Children, Assistants, Ghosts
5 Conditions of Cinematic Possibility: Repetition and Stoppage
6 The Coming Community
Bibliography
Index
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