By Saige Walton
Read or Download Cinema’s Baroque Flesh: Film, Phenomenology and the Art of Entanglement PDF
Best other media books
The electronic period provides, as did many different technological advancements ahead of it, the transformation of society: with the pc, we will go beyond time, house, and politics-as-usual. within the electronic chic, Vincent Mosco is going past the traditional tales of technological leap forward and financial meltdown to discover the myths developed round the new electronic expertise and why we think pressured to think in them.
This can be the 1st accomplished research of the photographs in 5 profusely illustrated Yiddish books that have been produced in sixteenth-century Italy: a manuscript of Jewish customs illustrated by way of its scribe, and books of customs, a chivalric romance, and a booklet of fables, all published at Christian presses in Venice and Verona.
To Henri Lefebvre, the gap and ""lived everydayness"" of the inter-dependent, multi-faceted urban produces manifold probabilities of identifiction and realisation via usually imperceptible interactions and practices. paintings and town takes this commentary as its cue to ascertain the function of paintings opposed to a backdrop of worldwide emerging city populations, considering the more moderen performative and relational ""turns"" of paintings that experience sought of their urban settings to spot a partaking spectator -- an implicated citizen.
- Encyclopedia of Mosaic Art
- A Mythic Obsession: The World of Dr. Evermor
- Recording Conceptual Art: Early Interviews with Barry, Huebler, Kaltenbach, LeWitt, Morris, Oppenheim, Siegelaub, Smithson, and Weiner by Patricia Norvell
- From Communism to Capitalism: Nation and State in Romanian Cultural Production
- Turkish miniature paintings and manuscripts from the collection of Edwin Binney 3rd
- Refiguring the Archive
Additional resources for Cinema’s Baroque Flesh: Film, Phenomenology and the Art of Entanglement
45). Once it is configured as a sensing and a sensible being, film is no more reducible to its technological make-up than we are to our own anatomy. 220). It is because of the reversibility of perception and expression that we can assert the film’s body as a lived body—in the sense that film-phenomenology understands it. Sobchack is particular on this point. She is definitely not arguing that the film’s body is a human one. However, we could not say that how we experience the technological perceptions and expressions of the film’s body is inanimate, either.
88). In the rear of the painting, Velázquez’s use of perspective renders an open door, a corridor, and a flight of stairs visible. 256). Although it is not certain whether Nieto is about to enter the room, his presence draws no attention from any of the painted figures and his own look is also directed outwards. 256). Despite its array of human figures, it is the luminous rectangle on the left of the far walls that catches the eye—drawing our attention towards a distant mirror. This mirror reflects the image of the Spanish king and queen, standing beneath a red drapery.
Having defined the formal and the philosophical hallmark of the baroque as the aesthetics of reversibility—as a doubled and correlative structure— we are better placed to explore how baroque cinema reverberates with filmphenomenological approaches. 49). 49). 173, 118–119). Expanding on Sobchack’s now seminal work, I would argue that Merleau-Ponty not only allows us a way to see film anew but to see film and phenomenological film theory baroquely. By way of the chiasm, Merleau-Ponty tells us that we do not have to choose between a philosophy that installs itself in the world or in the other and a philosophy that installs itself ‘in us’ […] our own experience is this turning round that installs us far indeed from ‘ourselves’, in the other, in the things […] we situate ourselves in ourselves and in the things, in ourselves and in the other, at the point where, by a sort of chiasm, we become the others and we become the world.