03124nam a22004095i 4500001001800000003000900018005001700027007001500044008004100059020001800100024003500118050001700153072001700170072002300187072002000210100007900230245008200309250001800391264007900409300004300488336002600531337002600557338003600583347002400619505053700643520121101180650002402391650003602415650002302451650002602474710003402500773002602534776003602560776003602596776003602632856004602668978-3-031-74042-8DE-He21320251030114551.0cr nn 008mamaa241129s2024    sz |    s    |||| 0|eng d  a97830317404287 a10.1007/978-3-031-74042-82doi 4aPN1995.9.E96 7aAPFN2bicssc 7aPER0040602bisacsh 7aATFx6AQ2thema1 aSlaymaker, James.eauthor.4aut4http://id.loc.gov/vocabulary/relators/aut10aEssay Cinema in the Digital Erah[electronic resource] /cby James Slaymaker.  a1st ed. 2024. 1aCham :bSpringer Nature Switzerland :bImprint: Palgrave Macmillan,c2024.  aIX, 271 p. 23 illus.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda0 aChapter 1 -- Introduction.-Chapter 2 -- Essay Cinema and Technological Innovation.-Chapter 3 -- Interactivity and Dialogical Exchange in Chris Marker’s Immemory and Ouvroir.-Chapter 4.-Jean-Luc Godard, Intertextuality, and Digital Remix Culture.-Chapter 5.-Capturing the Domestic Space in an Era of Ubiquitous Digital Media: Chantal Akerman’s No Home Movie.-Chapter 6.-Simulation, Gameplay, and the Non-Indexical Image in Harun Farocki’s Serious Games I-IV and Parallel I-IV.-Chapter 7.-Conclusion: Essaying the Future.-Index.  aThis book explores the impact of digital technology on the essay film in the early 21st century, arguing that the cinematic essay has been associated with technological evolution throughout its history. The author considers the output of four towering figures in essay filmmaking: Harun Farocki, Chris Marker, Chantal Akerman and Jean-Luc Godard, and explores the ways in which these directors utilise aesthetic strategies, editing techniques, and modes of spectatorial address that are rooted in the capabilities of digital technologies. Slaymaker conceptualises the cinematic essay as a self-reflexive mode of nonfiction cinema—one that foregrounds the filmmaking apparatus and the act of its own making, and which thereby launches an inquiry into the ontological nature of the cinematic image, the tools which construct it, and the wider artistic landscape in which it is embedded. James Slaymaker is a filmmaker, researcher and Teaching Fellow in Film Studies at Trinity College Dublin. He has written numerous journal articles, book chapters and conferences papers on digital technology, European cinema, the essay film, and experimental film. He is also a prolific writer of popular film criticism. 0aExperimental films. 0aMotion picture plays, European.14aExperimental Film.24aEuropean Film and TV.2 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303174041108iPrinted edition:z978303174043508iPrinted edition:z978303174044240uhttps://doi.org/10.1007/978-3-031-74042-8