The Material Image: Art and the Real in Film (Cultural Memory in the Present)

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9780804754309: The Material Image: Art and the Real in Film (Cultural Memory in the Present)
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Focusing on intermediality, The Material Image situates film within questions of representation familiar from painting and theatrical practices.

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"In short, great writing and great reading, whose impact should not remain confined to the sole field of film studies, but considered very carefully by all those who, in literary theory for instance, want to better understand why and how texts matter."--Leonardo

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Focusing on intermediality, "The Material Image" situates film within questions of representation familiar from the other arts: What is meant by figuring the real? How is the real suggested by visual metaphors, and what is its relation to illusion? How is the spectator figured as entering the text, and how does the image enter our world? The film's spectator is integral to these concerns. Cognitive and phenomenological approaches to perception alike claim that spectatorial affect is "real" even when it is film that produces it. Central to the staging of intermediality in film, tableaux moments in film also figure prominently in the book. Films by Scorsese, Greenaway, Wenders, and Kubrick are seen to address painterly, photographic, and digital images in relation to effects of the real. Hitchcock's films are examined with regard to modernist and realist effects in painting. Chapters on Fassbinder and Haneke analyze the significance of tableau for the body in pain, while a final chapter on horror film explores the literalism of psychopathic tableau. Here, too, art and the body - images and the real - are juxtaposed and entwined in a set of relations.

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9780804754316: The Material Image: Art and the Real in Film (Cultural Memory in the Present)

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ISBN 10:  0804754314 ISBN 13:  9780804754316
Publisher: Stanford University Press, 2006
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Book Description Stanford University Press, United States, 2006. Hardback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****.Focusing on intermediality, The Material Image situates film within questions of representation familiar from the other arts: What is meant by figuring the real? How is the real suggested by visual metaphors, and what is its relation to illusion? How is the spectator figured as entering the text, and how does the image enter our world? The film s spectator is integral to these concerns. Cognitive and phenomenological approaches to perception alike claim that spectatorial affect is real even when it is film that produces it. Central to the staging of intermediality in film, tableaux moments in film also figure prominently in the book. Films by Scorsese, Greenaway, Wenders, and Kubrick are seen to address painterly, photographic, and digital images in relation to effects of the real. Hitchcock s films are examined with regard to modernist and realist effects in painting. Chapters on Fassbinder and Haneke analyze the significance of tableau for the body in pain, while a final chapter on horror film explores the literalism of psychopathic tableau. Here, too, art and the body-images and the real-are juxtaposed and entwined in a set of relations. Seller Inventory # APC9780804754309

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Book Description Stanford University Press, United States, 2006. Hardback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****. Focusing on intermediality, The Material Image situates film within questions of representation familiar from the other arts: What is meant by figuring the real? How is the real suggested by visual metaphors, and what is its relation to illusion? How is the spectator figured as entering the text, and how does the image enter our world? The film s spectator is integral to these concerns. Cognitive and phenomenological approaches to perception alike claim that spectatorial affect is real even when it is film that produces it. Central to the staging of intermediality in film, tableaux moments in film also figure prominently in the book. Films by Scorsese, Greenaway, Wenders, and Kubrick are seen to address painterly, photographic, and digital images in relation to effects of the real. Hitchcock s films are examined with regard to modernist and realist effects in painting. Chapters on Fassbinder and Haneke analyze the significance of tableau for the body in pain, while a final chapter on horror film explores the literalism of psychopathic tableau. Here, too, art and the body-images and the real-are juxtaposed and entwined in a set of relations. Seller Inventory # APC9780804754309

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Book Description Stanford University Press. Hardcover. Condition: New. 272 pages. Dimensions: 9.0in. x 6.1in. x 0.8in.Focusing on intermediality, The Material Image situates film within questions of representation familiar from the other arts: What is meant by figuring the real How is the real suggested by visual metaphors, and what is its relation to illusion How is the spectator figured as entering the text, and how does the image enter our world The films spectator is integral to these concerns. Cognitive and phenomenological approaches to perception alike claim that spectatorial affect is real even when it is film that produces it. Central to the staging of intermediality in film, tableaux moments in film also figure prominently in the book. Films by Scorsese, Greenaway, Wenders, and Kubrick are seen to address painterly, photographic, and digital images in relation to effects of the real. Hitchcocks films are examined with regard to modernist and realist effects in painting. Chapters on Fassbinder and Haneke analyze the significance of tableau for the body in pain, while a final chapter on horror film explores the literalism of psychopathic tableau. Here, too, art and the bodyimages and the realare juxtaposed and entwined in a set of relations. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Hardcover. Seller Inventory # 9780804754309

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