Ulteriori informazioni
Sommario
Forms of the cinematic: An introduction
Mark E. Breeze (University of Cambridge, UK)
Part One
Rethinking: from Idea to Structure
1. Idea and image
D. N. Rodowick (University of Chicago, USA)
2. The screen as barrier and support: Monitoring, projection and perfectionism in Brad Bird’s Tomorrowland: A World Beyond (2015)
Stephen Mulhall (University of Oxford, UK)
3. Surface thoughts: On the look of cinema
John O´Maoilearca (Kingston University, UK)
4. The film event: From Bazin to Deleuze
Tom Conley (Harvard University, USA)
Part Two
Revisualizing: from the Tangible to the Intangible
5. What film studies is: Mapping the discipline
Annette Kuhn and Guy Westwell (Queen Mary University of London, UK)
6. A cinematic aided design approach and the need for (in)-disciplinarity
Francois Penz (University of Cambridge, UK)
7. Microcinematography and biomedical science
Brian Stramer (King's College London, UK)
8. Cinematic forms and cultural heritage
Maureen Thomas (Norwegian Film School, Norway)
Part Three
Reconstructing: from Writing to Architecture
9. The modulation of emphasis: Screenwriting as a literary art
Clare L. E. Foster (University of Cambridge, UK)
10. Mapping Andrei Tarkovsky’s Stalker: An architectural exploration of the ‘Zone’
Stavros Alifragkis (Aristotle University of Thesonaliki, Greece)
11. Architecture Beyond Sight: Filming blindness
Anna Ulrikke Andersen (University College London, UK)
12. Towards an architecture of the cinematic
Mark E. Breeze (University of Cambridge, UK)
Index
Info autore
Mark E. Breeze is a Harvard-trained architect, an Emmy-nominated documentary filmmaker and the Director of Studies in Architecture at St John’s College, University of Cambridge, UK. He completed his postdoctorate at the University of Oxford, and he has held fellowships at the US Library of Congress and The Huntington, Los Angeles. His academic and creative practice explores the intersections between architecture and film.
Riassunto
This interdisciplinary collection explores how cinema calls into question its own frame of reference and, at the same time, how its form becomes the matter of its thought. Building on the axiom (cherished by philosophers of cinema from Epstein to Deleuze) that cinema is a medium that thinks in conjunction with its spectators, this book examines how various forms of the cinematic rethink and redraw the terrain of traditional disciplines, thereby enabling different modes of thought and practice. Areas under consideration by a range of leading academics and practitioners include architecture, science, writing in a visual field, event-theory and historiography.
Prefazione
An interdisciplinary exploration of the forms, implications, and potentials of cinematic thinking.
Testo aggiuntivo
This rich interdisciplinary collection establishes the cinematic as a form for rethinking, revisualizing and reconstructing space and time, and as a socio-cultural tool that enables us to redefine our engagement with the world. Featuring texts by theorists and practitioners from philosophy, film studies, filmmaking, biology, documentary practice, screenwriting and architecture, often employing inventive research methodologies, the anthology is essential in its examination of cinema's wide ranging impact on different fields of knowledge.
