"This book explores the weird shapes that emerge when material elements interact with figurative content of the moving image. Employing the digitized first Czech films by Jan Krâiézeneckây prompted the questions: is it possible to do film theory from below, from the perspective of a film object? Could we treat accidents in moving images as full-fledged actors with distinctive aesthetic forms and functions? In these films, analog elements impinge upon the form and content of the moving images to create generative figures and shapes. Using digital technology, we can isolate these features and experiment with how they can be reimagined"--…mehr
"This book explores the weird shapes that emerge when material elements interact with figurative content of the moving image. Employing the digitized first Czech films by Jan Krâiézeneckây prompted the questions: is it possible to do film theory from below, from the perspective of a film object? Could we treat accidents in moving images as full-fledged actors with distinctive aesthetic forms and functions? In these films, analog elements impinge upon the form and content of the moving images to create generative figures and shapes. Using digital technology, we can isolate these features and experiment with how they can be reimagined"--
Jiri Anger is a British Academy Postdoctoral Fellow at Queen Mary University of London, UK. He also works at the National Film Archive in Prague, Czech Republic, as a researcher and editor of the peer-reviewed academic journal Iluminace. His specialization lies in the theory and history of early cinema, archival film, found footage, and videographic criticism. Anger is the author of two monographs, two edited volumes, and numerous journal articles (NECSUS, Film-Philosophy, Quarterly Review of Film and Video, etc.).
Inhaltsangabe
List of Figures Acknowledgments Introduction: What Is Film Theory from Below? 1. Keep That Image Burning: Color Veil and the Cinema That Never Stops Ending 2. Do Archivists Dream of Electric Horses?: Static Electricity and the Quadruple Logic of Indexicality 3. Trembling Meaning: Camera Instability and Transduction in Archival Moving Images 4. The Milestone That Never Happened: The Scratched Kiss and the Failed Beginning of Czech Cinema 5. Touching the Film Object with Surgical Gloves: Frankensteinian Frames and the Fragile Malleability of Cinematic Faces 6. Shaping the Unshapeable?: Videographic Deformation and the First Frames of Czech Cinema Conclusion: Digital Krízenecký Off the Scale? Bibliography Filmography Supplements Index
List of Figures Acknowledgments Introduction: What Is Film Theory from Below? 1. Keep That Image Burning: Color Veil and the Cinema That Never Stops Ending 2. Do Archivists Dream of Electric Horses?: Static Electricity and the Quadruple Logic of Indexicality 3. Trembling Meaning: Camera Instability and Transduction in Archival Moving Images 4. The Milestone That Never Happened: The Scratched Kiss and the Failed Beginning of Czech Cinema 5. Touching the Film Object with Surgical Gloves: Frankensteinian Frames and the Fragile Malleability of Cinematic Faces 6. Shaping the Unshapeable?: Videographic Deformation and the First Frames of Czech Cinema Conclusion: Digital Krízenecký Off the Scale? Bibliography Filmography Supplements Index
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