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This book
explores the cultural, intellectual, and artistic fascination with camera-eye metaphors in film culture of the twentieth century.
List of contents
Introduction
1. Seeing-As
Playing with the Senses
Sensitive Paper and Visual Substance
Mechanical Brains and Electronic Minds
The Organic Camera Eye and Walter Benjamin’s Optical Unconscious
Convergent Theorizing in Jean-Louis Baudry’s Apparatus Theory
2. Seeing Better and Seeing More
Camera and Dispositif
René Descartes and Dziga Vertov on Perfecting Vision
Seeing Better with Vsevolod Pudovkin’s Cartesian Camera Eye
Seeing More with Vertov’s Kino-Eye
3. Seeing and Writing
Dziga Vertov’s Poetic Map of A Sixth Part of the World
The Literary Notebooks of Luigi Pirandello’s Silent Camera Operator
The Sound Image of John Dos Passos’ Camera Eye
Christopher Isherwood’s Camera Eye on Stage and Screen
4. Memory and Traces
A Series of Dated Traces
Margarete Böhme’s The Diary of a Lost One
Filming the Diary of a Lost Girl
William Keighley’s Journal of a Crime
Cinema as Paper Formatted in Time
5. Gestures and Figures
Embodied Gestures and Textual Figures
Autopsy and Autography
Cinematic Discovery of the Self
Filmic Bodies and Figures in Narrative Film Theory
From Lady in the Lake to La Femme défendue
6. Roles and Models
Personal Cinema as Institution, Medium and Genre
From Psychodrama to Life Models
Animating the Self in Jerome Hill’s Film Portrait
Stan Brakhage’s Metaphors and Art of Vision
Brakhage’s Development of Camera Consciousness
The Eye Body and the Body Politic in Carolee Schneemann’s Expanded Cinema
7. Minds and Screens
Bruce Kawin and Gilles Deleuze on Camera Consciousness
Visionary Agents in Michael Powell’s Peeping Tom and Bertrand Tavernier’s Death Watch
Enacted Visions in Julian Schnabel’s The Diving Bell and the Butterfly and Gaspar Noé’s Enter the Void
Retrospective
Summary
This book explores the cultural, intellectual, and artistic fascination with camera-eye metaphors in film culture of the twentieth century.
