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Adam Lowenstein argues that Surrealism's encounter with film can help redefine the meaning of cinematic spectatorship in an era of popular digital entertainment. Video games, YouTube channels, Blu-ray discs, and other forms of "new" media have made theatrical cinema seem "old." A sense of "cinema lost" has accompanied the ascent of digital media, and many worry film's special capacity to record the real is either disappearing or being fundamentally changed by new media's different technologies. The Surrealist movement offers an ideal platform for resolving these tensions, undermining the claims of cinema's crisis of realism and offering an alternative interpretation of film's aesthetics and function. The Surrealists never treated cinema as a realist medium and understood our perceptions of the real itself to be a mirage.
Reading the writing, films, and art of Luis Bunuel, Salvador Dali, Man Ray, Andre Breton, Andre Bazin, Roland Barthes, Georges Bataille, Roger Caillois, and Joseph Cornell, and tracing their influence in the films of David Cronenberg, Nakata Hideo, and Atom Egoyan; the American remake of the Japanese Ring (1998); and a YouTube channel devoted to Rock Hudson, this innovative approach puts past and present cinema into conversation to recast the meaning of cinematic spectatorship in the twenty-first century.
List of contents
List of IllustrationsAcknowledgmentsIntroduction: Cinema as Digital Dream Machine1. Enlarged SpectatorshipFrom Realism to Surrealism: Bazin, Barthes, and The (Digital) Sweet Hereafter2. Interactive SpectatorshipGaming, Mimicry, and Art Cinema: Between Un chien andalou and eXistenZ3. Globalized SpectatorshipRing Around the Superflat Global Village: J-Horror Between Japan and America4. Posthuman SpectatorshipThe Animal in You(Tube): From Los olvidados to "Christian the Lion"5. Collaborative SpectatorshipThe Surrealism of the Stars: From Rose Hobart to Mrs. Rock HudsonAfterword: Marking Cinematic TimeNotesBibliographyIndex
About the author
Adam Lowenstein is associate professor of English and film studies at the University of Pittsburgh, where he also directs the film studies program. He is the author of Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film.
