Indefinite Visions : : Cinema and the Attractions of Uncertainty / / Arild Fetveit, Martine Beugnet, Allan Cameron.

• Superior document: Title is part of eBook package: De Gruyter Edinburgh University Press Complete eBook-Package 2017
• VerfasserIn: Beugnet, Martine,; Cameron, Allan,; Fetveit, Arild,
• MitwirkendeR: André, Emmanuelle,; Aumont, Jacques,; Balsom, Erika,; Bellour, Raymond,; Beugnet, Martine,; Blümlinger, Christa,; Cameron, Allan,; Chion, Michel,; Cubitt, Sean,; Fowler, Catherine,; Gunning, Tom,; Hanich, Julian,; Jay, Martin,; Knowles, Kim,; Misek, Richard,; Pisano, Giusy,; Ravetto-Biagioli, Kriss,; Rodowick, D. N.,; Shaviro, Steven,; Vernallis, Carol,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2017
• Year of Publication: 2022
• Language: English
• Series: Edinburgh Studies in Film and Intermediality : ESFI
• Physical Description: 1 online resource (384 p.) :; 30 colour illustrations

Examines the aesthetics, concepts and politics of chaotic and obscured moving imagesAudiovisual culture often privileges the instantly identifiable: the recognizable face, the well-timed stunt, the perfectly synchronized line of dialogue. Yet order and clarity do not come 'naturally' to the moving image. Light, motion, definition, compression: the conditions of recording, storing and screening can subject audiovisual media to countless variations, pulling them towards the indefinite and illegible. Filmmakers and artists often seek out and work with the resulting uncertainty, from the warping of space to the melding of senses, from glare to shadow and blur to glitch.This collection concerns itself with the aesthetics, concepts and politics of indefinite and obscured moving images, examining what is at stake in their foregrounding of materiality and mediation, evanescence and flux. Pursuing a range of approaches (spanning history, theory and close analysis), the authors in this volume investigate techniques, effects and themes that emerge from the wilful excavation of the moving image's formal and material base.ContributorsEmmanuelle André, Université Paris 7 DiderotJacques Aumont, Université Sorbonne Nouvelle - Paris 3Erika Balsom, King’s College London Raymond Bellour, French National Center for Scientific ResearchMartine Beugnet, Université Paris 7 DiderotChrista Blümlinger, Université Sorbonne Nouvelle - Paris 3Allan Cameron, University of AucklandMichel Chion, Composer, Filmmaker and Essay WriterSean Cubitt, Goldsmiths, University of LondonCatherine Fowler, University of OtagoTom Gunning, University of ChicagoJulian Hanich, University of GroningenMartin Jay, University of California, BerkleyKim Knowles, Aberystwyth UniversityRichard Misek, University of KentGiusy Pisano, Ecole Nationale Supérieure Louis LumièreKriss Ravetto-Biagioli, University of California, DavisD. N. Rodowick, University of ChicagoSteven Shaviro, Wayne State UniversityCarol Vernallis, Stanford University

Table of Contents

Frontmatter -- Contents -- Figures -- Contributors -- Introduction -- Illuminations -- 1. The Veiled Image: The Luminous Formless -- 2. The Black Screen -- 3. Flicker and Shutter: Exploring Cinema’s Shuddering Shadow -- Definitions -- 4. One Hundred Years of Low Definition -- 5. Genres of Blur -- 6. In Praise of the Sound Dissolve: Evanescences, Uncertainties, Fusions, Resonances -- Frames -- 7. Jumps in Scale -- 8. Reflecting on Reflections: Cinema’s Complex Mirror Shots -- 9. Cinematic Indeterminacy According to Peter Tscherkassky: Coming Attractions -- 10. Partying in The Great Gatsby: Baz Luhrmann’s Audiovisual Sublime -- Temporalities -- 11. The Force of Small Gestures -- 12. Bill Viola and the Cinema of Indefinite Bodily Experience -- 13. Slow Looking: Confronting Moving Images with Georges Didi-Huberman -- Materialities -- 14. (Re)visioning Celluloid: Aesthetics of Contact in Materialist Film -- 15. Seeing through the Fingertips -- 16. Homo Animalis Kino -- 17. Temporalities of the Glitch: Déjà Vu -- 18. The Glitch Dimension: Paranormal Activity and the Technologies of Vision -- 19. Facing the Glitch: Abstraction, Abjection and the Digital Image -- Index