Moving Images: From Edison to the WebcamJohn Fullerton, Astrid Söderbergh Widding Indiana University Press, 22 jun 2000 - 218 páginas Seventeen essays examining the impact of new media on the history of cinema. In 1888, Thomas Edison announced that he was experimenting on “an instrument which does for the eye what the phonograph does for the ear, which is the recording and reproduction of things in motion.” Just as Edison’s investigations were framed in terms of the known technologies of the phonograph and the microscope, the essays in this collection address the contexts of innovation and reception that have framed the development of moving images in the last one hundred years. Three concerns are of particular interest: the contexts of innovation and reception for moving image technologies; the role of the observer, whose vision and cognitive processes define some of the limits of inquiry and epistemological insight; and the role of new media, which, engaging with the domestic sphere as cultural interface, are transforming our understanding of public and private spheres. The seventeen previously unpublished essays in Moving Images represent the best of current research in the history of this field. They make a timely and stimulating contribution to debates concerning the impact of new media on the history of cinema. Contributors include: William Boddy, Carlos Bustamante, Warren Buckland, Valeria Camporesi, Bent Fausing, Oliver Gaycken, Alison Griffiths, Christopher Hales, Jan Holmberg, Solveig Jülich, Frank Kessler, Jay Moman, Sheila C. Murphy, Pelle Snickars, Paul C. Spehr, Björn Thuresson, and Åke Walldius. |
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Moving Images: From Edison to the Webcam John Fullerton,Astrid Söderbergh Widding Vista previa restringida - 2000 |
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aesthetics American anthropologists architecture audience Blair body Bolex Borneo broadcast camera Carl Lumholtz celluloid century characters cinematographic concept context culture dance dark adaption device diary Dickson digital images digital television discussion early cinema Eastman Correspondence Edison electronic emulsion essay ethnographic example exhibition experience eye’s féerie film film’s filmic filmmaking Forssell frame genre George Eastman George Gilder Georges Méliès Haddon Helmholtz Hendricks Collection high-definition high-definition television Ibid industry interactive Internet intertitles Jean Nouvel Jennicam Kinetoscope Kodak Le Corbusier light London look Lumholtz Lumière machine Méliès ment modern motion picture movie moving images Museum narrative National nineteenth observer ophthalmoscope optical Orlan patent performance photographic popular produced programme reality representation scene scientific scotopic vision screen sequence shot sion social space spatial spectacle Stockholm surveillance tion Torres Strait trauma University Press video game viewer vision visual Walter Benjamin webcams X-ray York