Eye of the century : film, experience, modernity
著者
書誌事項
Eye of the century : film, experience, modernity
(Film and culture)
Columbia University Press, c2008
- : cloth
- : pbk
- タイトル別名
-
Occhio del Novecento
大学図書館所蔵 全9件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Translation of: Occhio del Novecento
Bibliography: p. [237]-251
Includes index
内容説明・目次
内容説明
Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity. He suggests that film defined a unique gaze, not only because it recorded many of the century's most important events, but also because it determined the manner in which they were received. Casetti begins by examining film's nature as a medium in an age obsessed with immediacy, nearness, and accessibility. He considers the myths and rituals cinema constructed on the screen and in the theater and how they provided new images and behaviors that responded to emerging concerns, ideas, and social orders. Film also succeeded in negotiating the different needs of modernity, comparing and uniting conflicting stimuli, providing answers in a world torn apart by conflict, and satisfying a desire for everydayness, as well as lightness, in people's lives.
The ability to communicate, the power to inform, and the capacity to negotiate-these are the three factors that defined film's function and outlook and made the medium a relevant and vital art form of its time. So what kind of gaze did film create? Film cultivated a personal gaze, intimately tied to the emergence of point of view, but also able to restore the immediacy of the real; a complex gaze, in which reality and imagination were combined; a piercing gaze, achieved by machine, and yet deeply anthropomorphic; an excited gaze, rich in perceptive stimuli, but also attentive to the spectator's orientation; and an immersive gaze, which gave the impression of being inside the seen world while also maintaining a sense of distance. Each of these gazes combined two different qualities and balanced them. The result was an ever inventive synthesis that strived to bring about true compromises without ever sacrificing the complexity of contradiction. As Casetti demonstrates, film proposed a vision that, in making opposites permeable, modeled itself on an oxymoronic principle. In this sense, film is the key to reading and understanding the modern experience.
目次
Acknowledgments A Hundred Years, A Century 1. The Gaze of Its Age 2. Framing The World 3. Double Vision 4. The Glass Eye 5. Strong Sensations 6. Glosses, Exymorons, And Discipline Remains of the Day Notes Bibliography
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