| 000 | 03501nam a22004935i 4500 | ||
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| 001 | 978-3-031-74042-8 | ||
| 003 | DE-He213 | ||
| 005 | 20251030114551.0 | ||
| 007 | cr nn 008mamaa | ||
| 008 | 241129s2024 sz | s |||| 0|eng d | ||
| 020 |
_a9783031740428 _9978-3-031-74042-8 |
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| 024 | 7 |
_a10.1007/978-3-031-74042-8 _2doi |
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| 050 | 4 | _aPN1995.9.E96 | |
| 072 | 7 |
_aAPFN _2bicssc |
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| 072 | 7 |
_aPER004060 _2bisacsh |
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| 072 | 7 |
_aATF _x6AQ _2thema |
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| 100 | 1 |
_aSlaymaker, James. _eauthor. _4aut _4http://id.loc.gov/vocabulary/relators/aut _988244 |
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| 245 | 1 | 0 |
_aEssay Cinema in the Digital Era _h[electronic resource] / _cby James Slaymaker. |
| 250 | _a1st ed. 2024. | ||
| 264 | 1 |
_aCham : _bSpringer Nature Switzerland : _bImprint: Palgrave Macmillan, _c2024. |
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| 300 |
_aIX, 271 p. 23 illus. _bonline resource. |
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| 336 |
_atext _btxt _2rdacontent |
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_acomputer _bc _2rdamedia |
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| 338 |
_aonline resource _bcr _2rdacarrier |
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_atext file _bPDF _2rda |
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| 505 | 0 | _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. | |
| 520 | _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. | ||
| 650 | 0 |
_aExperimental films. _967341 |
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| 650 | 0 |
_aMotion picture plays, European. _966599 |
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| 650 | 1 | 4 |
_aExperimental Film. _967343 |
| 650 | 2 | 4 |
_aEuropean Film and TV. _966601 |
| 710 | 2 | _aSpringerLink (Online service) | |
| 773 | 0 | _tSpringer Nature eBook | |
| 776 | 0 | 8 |
_iPrinted edition: _z9783031740411 |
| 776 | 0 | 8 |
_iPrinted edition: _z9783031740435 |
| 776 | 0 | 8 |
_iPrinted edition: _z9783031740442 |
| 856 | 4 | 0 | _uhttps://doi.org/10.1007/978-3-031-74042-8 |
| 912 | _aZDB-2-LCM | ||
| 912 | _aZDB-2-SXL | ||
| 999 |
_c65308 _d65308 |
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