Chaoid Cinema
portes grátis
Chaoid Cinema
Deleuze & Guattari and the Topological Vector of Silence
Gardner, Colin
Edinburgh University Press
07/2023
376
Mole
Inglês
9781474494038
15 a 20 dias
Descrição não disponível.
Introduction: 'Stratigraphic Silence': Chaoid Cinema and Its Centripetal/Centrifugal Functions.
1: 'The Multiplicity is Among Us': Silence and the Machinic Phylum in Fritz Lang's M (1931).
2: Ecosophical Chaoids: Towards an 'Infinite Cinema' with Hollis Frampton's Zorn's Lemma (1970) and Gloria! (1979).
3: 'There is no film. Let us proceed to the debates!': Immanence as 'Syncinema' in Maurice Lemaitre's Le film est deja commence (1951) and Guy Debord's Hurlements en Faveur de Sade (1952).
4: The Children of Barthes and Paris Match: Godard, Prostitution and the Rhetoric of the Image.
5: 'Tricontinental Tropicalism': The Convulsive Carnival of a Syncretic Populism in Glauber Rocha's Terra em Transe (1967), Der Leone Have Sept Cabecas (1970) and I Idada da Terra (1980).
6: 'See You at Mao': the '60s Left Returns to Zero with the Dziga Vertov Group.
7: Silencing Interpellation: Gorin, Althusser and the Ideological State Apparatus.
8: 'We're Projectorists!': Concrete Duration and the Spectacle of Attractions in Malcolm Le Grice's Little Dog for Roger (1967); Threshold (1972); and After Lumiere - L'Arroseur Arrose (1974).
9: On Truth and Lie in an Extra-Formal Sense: Silence as Resistant Punctum in Abbas Kiarostami's Chorus (1982), Homework (1989) and Close-Up (1990).
Conclusion: 'The Abyss Also Looks Into You': From Syncinema to 'Sin' Cinema in Mike Figgis's Leaving Las Vegas (1995) and Harmony Korine's Trash Humpers (2009).
1: 'The Multiplicity is Among Us': Silence and the Machinic Phylum in Fritz Lang's M (1931).
2: Ecosophical Chaoids: Towards an 'Infinite Cinema' with Hollis Frampton's Zorn's Lemma (1970) and Gloria! (1979).
3: 'There is no film. Let us proceed to the debates!': Immanence as 'Syncinema' in Maurice Lemaitre's Le film est deja commence (1951) and Guy Debord's Hurlements en Faveur de Sade (1952).
4: The Children of Barthes and Paris Match: Godard, Prostitution and the Rhetoric of the Image.
5: 'Tricontinental Tropicalism': The Convulsive Carnival of a Syncretic Populism in Glauber Rocha's Terra em Transe (1967), Der Leone Have Sept Cabecas (1970) and I Idada da Terra (1980).
6: 'See You at Mao': the '60s Left Returns to Zero with the Dziga Vertov Group.
7: Silencing Interpellation: Gorin, Althusser and the Ideological State Apparatus.
8: 'We're Projectorists!': Concrete Duration and the Spectacle of Attractions in Malcolm Le Grice's Little Dog for Roger (1967); Threshold (1972); and After Lumiere - L'Arroseur Arrose (1974).
9: On Truth and Lie in an Extra-Formal Sense: Silence as Resistant Punctum in Abbas Kiarostami's Chorus (1982), Homework (1989) and Close-Up (1990).
Conclusion: 'The Abyss Also Looks Into You': From Syncinema to 'Sin' Cinema in Mike Figgis's Leaving Las Vegas (1995) and Harmony Korine's Trash Humpers (2009).
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
chaoids; Gilles Deleuze; film-philosophy; silence; time-image interstice; sonic rupture; Felix Guattari
Introduction: 'Stratigraphic Silence': Chaoid Cinema and Its Centripetal/Centrifugal Functions.
1: 'The Multiplicity is Among Us': Silence and the Machinic Phylum in Fritz Lang's M (1931).
2: Ecosophical Chaoids: Towards an 'Infinite Cinema' with Hollis Frampton's Zorn's Lemma (1970) and Gloria! (1979).
3: 'There is no film. Let us proceed to the debates!': Immanence as 'Syncinema' in Maurice Lemaitre's Le film est deja commence (1951) and Guy Debord's Hurlements en Faveur de Sade (1952).
4: The Children of Barthes and Paris Match: Godard, Prostitution and the Rhetoric of the Image.
5: 'Tricontinental Tropicalism': The Convulsive Carnival of a Syncretic Populism in Glauber Rocha's Terra em Transe (1967), Der Leone Have Sept Cabecas (1970) and I Idada da Terra (1980).
6: 'See You at Mao': the '60s Left Returns to Zero with the Dziga Vertov Group.
7: Silencing Interpellation: Gorin, Althusser and the Ideological State Apparatus.
8: 'We're Projectorists!': Concrete Duration and the Spectacle of Attractions in Malcolm Le Grice's Little Dog for Roger (1967); Threshold (1972); and After Lumiere - L'Arroseur Arrose (1974).
9: On Truth and Lie in an Extra-Formal Sense: Silence as Resistant Punctum in Abbas Kiarostami's Chorus (1982), Homework (1989) and Close-Up (1990).
Conclusion: 'The Abyss Also Looks Into You': From Syncinema to 'Sin' Cinema in Mike Figgis's Leaving Las Vegas (1995) and Harmony Korine's Trash Humpers (2009).
1: 'The Multiplicity is Among Us': Silence and the Machinic Phylum in Fritz Lang's M (1931).
2: Ecosophical Chaoids: Towards an 'Infinite Cinema' with Hollis Frampton's Zorn's Lemma (1970) and Gloria! (1979).
3: 'There is no film. Let us proceed to the debates!': Immanence as 'Syncinema' in Maurice Lemaitre's Le film est deja commence (1951) and Guy Debord's Hurlements en Faveur de Sade (1952).
4: The Children of Barthes and Paris Match: Godard, Prostitution and the Rhetoric of the Image.
5: 'Tricontinental Tropicalism': The Convulsive Carnival of a Syncretic Populism in Glauber Rocha's Terra em Transe (1967), Der Leone Have Sept Cabecas (1970) and I Idada da Terra (1980).
6: 'See You at Mao': the '60s Left Returns to Zero with the Dziga Vertov Group.
7: Silencing Interpellation: Gorin, Althusser and the Ideological State Apparatus.
8: 'We're Projectorists!': Concrete Duration and the Spectacle of Attractions in Malcolm Le Grice's Little Dog for Roger (1967); Threshold (1972); and After Lumiere - L'Arroseur Arrose (1974).
9: On Truth and Lie in an Extra-Formal Sense: Silence as Resistant Punctum in Abbas Kiarostami's Chorus (1982), Homework (1989) and Close-Up (1990).
Conclusion: 'The Abyss Also Looks Into You': From Syncinema to 'Sin' Cinema in Mike Figgis's Leaving Las Vegas (1995) and Harmony Korine's Trash Humpers (2009).
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
