Petho Agnes (52 results)

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Paperback. Condition: new. Paperback. This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. The diverse theoretical approaches that unravel this in-betweenness contribute to the understanding of intermedial phenomena in contemporary cinema as a whole. This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern bloc. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

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Paperback. Condition: New. This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. The diverse theoretical approaches that unravel this in-betweenness contribute to the understanding of intermedial phenomena in contemporary cinema as a whole.

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Paperback. Condition: New. This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. The diverse theoretical approaches that unravel this in-betweenness contribute to the understanding of intermedial phenomena in contemporary cinema as a whole.

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Condition: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. Clean from markings. In good all round condition. Dust jacket in good condition. Library sticker on front cover. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,700grams, ISBN:9781443868839.

Paperback. Condition: new. Paperback. This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. The diverse theoretical approaches that unravel this in-betweenness contribute to the understanding of intermedial phenomena in contemporary cinema as a whole. This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern bloc. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

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Paperback. Condition: New. This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. The diverse theoretical approaches that unravel this in-betweenness contribute to the understanding of intermedial phenomena in contemporary cinema as a whole.

Hardcover. Condition: Good+. Dust Jacket Condition: Good. Hardcover, vii + 429 pages, b&w images in text, NOT ex-library. Clean and bright interior with unmarked text, free of inscriptions and stamps, firmly bound. Faint grubby marks on upper page edges externally; a scratch on the rear board. Shelfworn dust jacket shows short tears / fraying in corners of the front flap, scuffing to edges. -- Ever since the centenary of cinema there have been intense discussions in the fields of film studies about the imminent demise of the cinematic medium [.]. By the turn of the millennium, the whole "ecosystem" of media has been radically altered through processes of hybridization and media convergence. Some theorists even claim that now that the term "medium" has triumphed in the discussions around contemporary art and culture, the actual media have already deceased, as digitized imagery absorbs all media. Moving images have entered the art galleries and new forms of inter-art relationships have been forged. They have also moved into the streets and our everyday life as a domesticated medium at everybody's reach, into new private and public environments (and into a fusion of both via the Internet). Consequently, should we speak of an all pervasive "cinematic experience" instead of a cinematic medium? What really happens to film once its traditional medium has shape shifted into various digital forms and once its traditional locations, institutions and usages have been uprooted? What do these re-locations and re-configurations really entail? What are the most important new genres in post-media moving pictures? How does theatrical cinema itself adapt to or reflect on these new image forms and technologies? How can we interpret the convergence of older cinematic forms with an emerging digital aesthetics traceable in typical post-media "hosts" of moving images? -- Contents: Introduction: Post Media Life of Film / Á.Petho; -- Part I: Images Moving into the Post-Media Age: Re-Location, Re-Mediation, Re-Configuration -- How Does Difference Matter? Dialogue & Reflexivity in the Flow of Remediations / Yvonne Spielmann; Shifting Paradigms in Web Video: From Access to Curation / Simon Ruschmeyer; Voyage of the Spectators around Exhibited Moving Pictures / Andrea Éva Tóth; Jean-Luc Godard's Passages from the Photo-Graphic to the Post-Cinematic: Images in between Intermediality & Convergence / Á.Petho; Transplane Image & the Future of Cinema / Jens Schröter; See More, Think Big: IMAX Brand Before & After the Digital Remastering / Beja Margitházi; -- Part II: Cinema Adapted to the Post-Media Condition -- Lives of Cinema: Against Its "Death" / Niels Niessen; Along the Track of the Effaced Trace in Michael Haneke's Caché / Judit Pieldner; Prestidigitation: Some Reflections on Cinema in the Digital Age / Doris Gassert; Back to the Future of Capitalism: A Christmas Carol in 3D / Marco Grosoli; From Narration to Information: "Robin Hood" & "Sherlock Holmes" in the Age of New Media / Hajnal Király; War, Lies & Video: Documentary Features of the War Film Genre in the Post-Media Age / Peter Ole Pedersen; Cybernetic Systems, Electronic Culture & Post-Photographic Image in Contemporary Hollywood Dystopias / Wendy Sterba; Feeling Together: Cinema & Practices of Sociability in the Post Media Condition / Ruggero Eugeni; Database Logic, Interactive Narrative & Films / Miklós Sághy; -- Part III: Bridging the Old & the New: Digital Aesthetics of DVD, Television & Computer Games -- This Image, which I Have Never Seen. Which I Still Remember: DVDs and the Memory & Loss of Materiality / Eirik Frisvold Hanssen; "It's not Television, It's DVD": New & Old Ways of Representing the World in "The Wire" / Anne Gjelsvik & Jørgen Bruhn; New Forms of Narrativity & Documentary on DVD. György Pálfi's "I'm not Your Friend"-Project / Lóránt Stöhr; Realism Reconsidered: On Aesthetics of Visual Simulation in Games / László Tarnay; More than a Matter of Making Images Seen: Iteration, Agency & Procedurality in Game Studies / Gábor Zoltán Kiss.

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Taschenbuch. Condition: Neu. Neuware - This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina, and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. The diverse theoretical approaches that unravel this in-betweenness contribute to the understanding of intermedial phenomena in contemporary cinema as a whole. Ágnes Petho is Professor of Film Studies at the Department of Film, Photography and Media of the Sapientia Hungarian University of Transylvania in Cluj-Napoca (Romania).

Paperback. Condition: New. This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. The diverse theoretical approaches that unravel this in-betweenness contribute to the understanding of intermedial phenomena in contemporary cinema as a whole.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

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