Mary Ann Doane examines how the scalar operations of cinema, especially those of the close-up, disturb and reconfigure the spectator's sense of place, space, and orientation.
Mary Ann Doane examines how the scalar operations of cinema, especially those of the close-up, disturb and reconfigure the spectator's sense of place, space, and orientation.
Mary Ann Doane is Class of 1937 Professor of Film and Media at the University of California, Berkeley, and author of The Emergence of Cinematic Time: Modernity, Contingency, the Archive and Femmes Fatales: Feminism, Film Theory, Psychoanalysis.
Inhaltsangabe
Acknowledgments ix Introduction: Scale, the Cinematic Image, and the Negotiation of Space 1 Part I. Close-Up/Face 1. The Delirium of a Minimal Unit 29 2. The Cinematic Manufacture of Scale, or Historical Vicissitudes of the Close-Up 53 3. At Face Value 89 Part II. Scale/Screen 4. Screens, Female Faces, and Modernities 135 5. The Location of the Image: Projection, Perspective, and Scale 189 6. The Concept of Immersion: Mediated Space, Media Space, and the Location of the Subject 239 Notes 283 Bibliography 325 Index 343
Acknowledgments ix Introduction: Scale, the Cinematic Image, and the Negotiation of Space 1 Part I. Close-Up/Face 1. The Delirium of a Minimal Unit 29 2. The Cinematic Manufacture of Scale, or Historical Vicissitudes of the Close-Up 53 3. At Face Value 89 Part II. Scale/Screen 4. Screens, Female Faces, and Modernities 135 5. The Location of the Image: Projection, Perspective, and Scale 189 6. The Concept of Immersion: Mediated Space, Media Space, and the Location of the Subject 239 Notes 283 Bibliography 325 Index 343
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