Cinema and Technology

Through the analysis of examples that range from cutting-edge Hollywood blockbusters to viral films on the internet, and from Victorian cinema to the present, the contributors to this volume discuss the ways in which thinking about technology is crucial to understanding cinema's forms, significance and impact upon audiences.

Autorentext
MARIE-LUISE ANGERER is Principal of the Academy of Media Arts, Cologne, Germany ANDREW CLAY is Senior Lecturer in Critical Technical Practices at De Montfort University, Leicester, UK JAMES ELKINS is E.C. Chadbourne Professor in the Department of Art History, Theory, and Criticism, School of the Art Institute of Chicago, USA THOMAS ELSAESSER is Professor in the Department of Media and Culture and Director of Research, Film and Television at the University of Amsterdam, Netherlands JAN HARRIS is an independent scholar whose research is concerned with the impact of new media on cultural forms, and the philosophy of technology MICHELLE LANGFORD is Lecturer in Film Studies in the School of English, Media and Performing Arts at the University of New South Wales, Australia PETER LESTER is a doctoral candidate in the Department of Communication Studies at Concordia University, Montreal, Canada MAJA MANOJLOVIC is a Ph.D. Candidate in Cinema and Media Studies at the UCLA Department of Film, Television and Digital Media, USA PAUL S. MOORE is Assistant Professor of Sociology at Ryerson University in Toronto, Canada KATE O'RIORDAN is Lecturer in Media and Film at the University of Sussex, UK CHRISTOPHER RODRIGUES lectures in Media Arts at the University of Plymouth, UK BILL SCHAFFER teaches Film and Animation Studies at the University of Newcastle, Australia AYLISH WOOD is Senior Lecturer in Film Studies at the University of Kent, UK

Inhalt
Biographical Notes Acknowledgements Introduction: B.Bennett, M.Furstenau& A.Mackenzie PART 1: FORMAT The Perilous Gauge: Canadian Independent Film Exhibition and the 16mm Mobile Menace; P.Lester BMW Films and the Star Wars Kid: 'Early Web Cinema' and Technology; A.Clay On Some Limits to Film Theory (Mainly From Science); J.Elkins PART 2: NORMS Socially Combustible: Panicky People, Flammable Films, and the Dangerous New Technology of the Nickelodeon; P.Moore Cinema and its Doubles: Kittler vs. Deleuze; J.Harris Genomic Science in Contemporary Film: Institutions, Individuals and Genre; K.O'Riordan PART 3: SCANNING Cinema as Technology: Encounters with an Interface; A.Wood Demonlover : Interval, Affect and the Aesthetics of Digital Dislocation; M.Manojlovic 'Into the décor': Attention and Distraction, Foreground and Background; C.Rodrigues Children, Robots, Cinephilia and Technophobia; B.Bennett PART 4: MOVEMENT Lola and the Vampire: Technologies of Time and Movement in German Cinema; M.Langford Inbetweening: Animation, Deleuze, Film Theory; B.Schaffer Affective Troubles and Cinema; M-L.Angerer Afterword: Digital Cinema and the Apparatus: Archaeologies, Epistemologies, Ontologies; T.Elsaesser Bibliography Index