- 305 pages
- English
- PDF
- Available on iOS & Android
eBook - PDF
About this book
In this book, Daniele Dottorini establishes a starting point toward a theory of the anachronism of cinematic images through an exploration of existing films, theories, and discourses concerning the temporality of images that have shaped the history of cinema.
Dottorini examines the cinematic form as a specific way of working with the temporality of images, emphasizing its medium specificity in its ability to employ a confrontation with the history of both the image itself and the discourses that have reflected on it simultaneously, particularly within the contemporary sphere. The image is always in a sense spectral, phantasmal, and open, he argues – it is a field of tensions which has the unique ability to form connections to other images, epochs, gazes, and visions of the past as it is used time and again in new and different works.
By building on the work of scholars and artists that have come before him, including Warburg, Pasolini, Deleuze, Benjamin, Godard, and Herzog, among many others, Dottorini positions the image as not only – and not even primarily – a datapoint to be analyzed, but as a form that is constantly moving, changing, and forming new connections. Ultimately, this book constitutes a significant contribution to our understanding of the image as a path built through encounters and comparisons, which is but one facet of establishing a history of cinema as a story of returns and survivals.
Dottorini examines the cinematic form as a specific way of working with the temporality of images, emphasizing its medium specificity in its ability to employ a confrontation with the history of both the image itself and the discourses that have reflected on it simultaneously, particularly within the contemporary sphere. The image is always in a sense spectral, phantasmal, and open, he argues – it is a field of tensions which has the unique ability to form connections to other images, epochs, gazes, and visions of the past as it is used time and again in new and different works.
By building on the work of scholars and artists that have come before him, including Warburg, Pasolini, Deleuze, Benjamin, Godard, and Herzog, among many others, Dottorini positions the image as not only – and not even primarily – a datapoint to be analyzed, but as a form that is constantly moving, changing, and forming new connections. Ultimately, this book constitutes a significant contribution to our understanding of the image as a path built through encounters and comparisons, which is but one facet of establishing a history of cinema as a story of returns and survivals.
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Please note we cannot support devices running on iOS 13 and Android 7 or earlier. Learn more about using the app.
Yes, you can access Cinema and Anachronism by Daniele Dottorini in PDF and/or ePUB format, as well as other popular books in Media & Performing Arts & Film History & Criticism. We have over one million books available in our catalogue for you to explore.
Information
Table of contents
- Cover
- Half Title
- Series Page
- Title Page
- Copyright Page
- Contents
- Figures
- Acknowledgments
- Introduction
- Chapter 1: Toward a Cinema of Anachronism: Warburg and the Movement-Image
- Chapter 2: The Surviving Image
- Chapter 3: The Constitutive Polarity of Images: The Atlas and Editing (Polarity and Intermediate Space)
- Chapter 4: Gestures, Pathos, Ecstasy
- Chapter 5: Metamorphosis: On the Becoming Other of the Image
- Chapter 6: The Vampire and the Ghost
- Chapter 7: The Dancing Image: (The Movement of Bodies)
- Chapter 8: Rethinking Film History
- Bibliography
- Index
- About the Author