Shane Denson examines the ways in which computer-generated digital images displace and transform the traditional spatial and temporal relationships that viewers had with conventional analog forms of cinema.
Shane Denson examines the ways in which computer-generated digital images displace and transform the traditional spatial and temporal relationships that viewers had with conventional analog forms of cinema.
Shane Denson is Associate Professor of Film and Media Studies at Stanford University and author of Postnaturalism: Frankenstein, Film, and the Anthropotechnical Interface.
Inhaltsangabe
Acknowledgments ix Introduction. Discorrelation and Post-cinema 1 Part I. Theorizing Discorrelation 1. Crazy Cameras 21 2. Dividuated Images 51 3. Screen Time 73 Part II. Making Sense of Discorrelation 4. Life to Those Pixels! 113 5. The Horrors of Discorrelation 153 6. Post-cinema after Extinction 193 Notes 237 Bibliography 277 Index 293
Acknowledgments ix Introduction. Discorrelation and Post-cinema 1 Part I. Theorizing Discorrelation 1. Crazy Cameras 21 2. Dividuated Images 51 3. Screen Time 73 Part II. Making Sense of Discorrelation 4. Life to Those Pixels! 113 5. The Horrors of Discorrelation 153 6. Post-cinema after Extinction 193 Notes 237 Bibliography 277 Index 293
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