Search Results for movement-action-image-montage

symbolic power of Eisenstein's work with images cannot be adequately explained). Eisenstein's concepts themselves function as montages. None of the concepts is a simple unity, but we are, in each case, also not simply dealing with two ...

Author: Luka Arsenjuk

Publisher: U of Minnesota Press

ISBN: 9781452956053

Category: Performing Arts

Page: 280

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A major new study of Sergei Eisenstein delivers fresh, in-depth analyses of the iconic filmmaker’s body of work What can we still learn from Sergei Eisenstein? Long valorized as the essential filmmaker of the Russian Revolution and celebrated for his indispensable contributions to cinematic technique, Eisenstein’s relevance to contemporary culture is far from exhausted. In Movement, Action, Image, Montage, Luka Arsenjuk considers the auteur as a filmmaker and a theorist, drawing on philosophers such as Georg Wilhelm Friedrich Hegel and Gilles Deleuze—as well as Eisenstein’s own untranslated texts—to reframe the way we think about the great director and his legacy. Focusing on Eisenstein’s unique treatment of the foundational concepts of cinema—movement, action, image, and montage—Arsenjuk invests each aspect of the auteur’s art with new significance for the twenty-first century. Eisenstein’s work and thought, he argues, belong as much to the future as the past, and both can offer novel contributions to long-standing cinematic questions and debates. Movement, Action, Image, Montage brings new elements of Eisenstein’s output into academic consideration, by means ranging from sustained and comprehensive theorization of Eisenstein’s practice as a graphic artist to purposeful engagement with his recently published, unfinished book Method, still unavailable in English translation. This tour de force offers new and significant insights on Eisenstein’s oeuvre—the films, the art, and the theory—and is a landmark work on an essential filmmaker.
2018-02-20 By Luka Arsenjuk

conception of semiotics as the system of signs which associate types of image, Deleuze describes montage as the ... of movement-images [montage], or from their specification as perception-images, affection-images and action-images, ...

Author: Jason Cullen

Publisher: Bloomsbury Publishing

ISBN: 9781350133815

Category: Philosophy

Page: 216

View: 735

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Ethology, or, how animals relate to their environments is currently enjoying increased academic attention. A prominent figure in this scholarship is Gilles Deleuze and yet, the significance of his relational metaphysics to ethology has still not been scrutinised. Jason Cullen's book is the first text to analyse Deleuze's philosophical ethology and he prioritises the theorist's examination of how beings relate to each other. For Cullen, Deleuze's Cinema books are integral to this investigation and he highlights how they expose a key Deleuzian theme: that beings are fundamentally continuous with each other. In light of this continuity then, Cullen reveals that how beings understand each other shapes them and allows them to transform their shared worlds.
2020-09-17 By Jason Cullen

7. Luka Arsenjuk, Movement, Action, Image, Montage: Sergei Eisenstein and the Cinema in Crisis (Minneapolis: University of Minnesota Press, 2018), 5. 8. Arsenjuk, 140–41. 9. Even in the “dialectical image,” which Arsenjuk distinguishes ...

Author: Domietta Torlasco

Publisher: U of Minnesota Press

ISBN: 9781452964638

Category: Performing Arts

Page: 200

View: 168

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A rigorous and imaginative inquiry into rhythm’s vital importance for film and the moving image Focusing attention on a concept much neglected in the study of film, The Rhythm of Images opens new possibilities for thinking about expanded perception and idiosyncratic modes of being. Author Domietta Torlasco engages with both philosophy and cinema to elaborate a notion of rhythm in its pre-Socratic sense as a “manner of flowing”—a fugitive mode that privileges contingency and calls up the forgotten fluidity of forms. In asking what it would mean to take this rhythm as an ontological force in its own right, she creatively draws on thinkers such as Giorgio Agamben, Roland Barthes, Gilles Deleuze, and Luce Irigaray. Rhythm emerges here as a form that eludes measure, a key to redefining the relation between the aesthetic and the political, and thus a pivotal means of resistance to power. Working with constellations of films and videos by international artists—from Michelangelo Antonioni, Jean-Luc Godard, and David Lynch to Harun Farocki and Victor Burgin, among others—Torlasco brings to bear on them her distinctive concept of rhythm with respect to four interrelated domains: life, labor, memory, and medium. With innovative readings of artworks and critical texts alike, The Rhythm of Images fashions a vibrant, provocative theory of rhythm as the excess or potential of perception. Ultimately, the book reconceives the relation between rhythm and the world-making power of images. The result is a vision of cinema as a hybrid medium endowed with the capacity not only to reinvent corporeal boundaries but also to find new ways of living together.
2021-06-08 By Domietta Torlasco

This new element was a crisis of the action - image that propelled the cinematic movement - image toward its ... Montage is based here on irrational intervals that " de - link " images , as well as the relation between images and sounds ...

Author: David Norman Rodowick

Publisher: Duke University Press

ISBN: 0822319705

Category: Performing Arts

Page: 258

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An introduction to Deleuze’s theory of cinema, from a leading American film theorist.

THE VARIATIONS OF THE MOVEMENT - IMAGE Deleuze demonstrates that movement can in different ways be related to a center to express the change in the ... The dominant mode of connecting movement in cinema is the American action montage .

Author:

Publisher: BRILL

ISBN: 9789004456068

Category: History

Page: 328

View: 774

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A bilingual collection of essays on the aesthetics of Gilles Deleuze, Discern(e)ments highlights what is at stake in Deleuzian philosophy of art. It traces the reception of Deleuzian thought in a broad range of disciplines and gauges its use-value in each of them. Following the dynamics between structure and becoming that punctuates Deleuzian aesthetics, Discern(e)ments sketches and erases boundaries between methods and traditions in philosophy and art theory, as well as in literary, performance and film studies. Offering both numerous case-studies as well as theoretical outlines, Discern(e)ments engages faculties, disciplines and criticisms not in a mere exchange of points of view, but in heterogenesis mapping out further discernments in Deleuzian aesthetics.
2022-06-08 By

This is perhaps most easy to understand in the action-image, where time is edited to suit the movements of a character ... the role of spectacle in reappraising Deleuze's thinking on the action-image, is Deleuze's conception of montage.

Author: David Martin-Jones

Publisher: Bloomsbury Publishing

ISBN: 9781441102201

Category: Philosophy

Page: 288

View: 359

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Shortlisted for the British Association of Film, Television and Screen Studies Annual Book Award! Deleuze's Cinema books continue to cause controversy. Although they offer radical new ways of understanding cinema, his conclusions often seem strikingly Eurocentric. Deleuze and World Cinemas explores what happens when Deleuze's ideas are brought into contact with the films he did not discuss, those from Europe and the USA (from Georges Méliès to Michael Mann) and a range of world cinemas - including Bollywood blockbusters, Hong Kong action movies, Argentine melodramas and South Korean science fiction movies. These emergent encounters demonstrate the need for the constant adaptation and reinterpretation of Deleuze's findings if they are to have continued relevance, especially for cinema's contemporary engagement with the aftermath of the Cold War and the global dominance of neoliberal globalization.
2011-02-17 By David Martin-Jones

Deleuze's second derivation from Bergson concerns the movementimage itself, its etiology and its three-part articulation. ... the action-image to the montage, and the affection-image to the shot (i.e., with the movement-image as such).

Author: David Norman Rodowick

Publisher: U of Minnesota Press

ISBN: 9780816650064

Category: Performing Arts

Page: 396

View: 378

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The French philosopher Gilles Deleuze was one of the most innovative and revolutionary thinkers of the twentieth century. Author of more than twenty books on literature, music, and the visual arts, Deleuze published the first volume of his two-volume study of film, Cinema 1: The Movement-Image, in 1983 and the second volume, Cinema 2: The Time-Image, in 1985. Since their publication, these books have had a profound impact on the study of film and philosophy. Film, media, and cultural studies scholars still grapple today with how they can most productively incorporate Deleuze's thought. The first new collection of critical studies on Deleuze's cinema writings in nearly a decade, Afterimages of Gilles Deleuze's Film Philosophy provides original essays that evaluate the continuing significance of Deleuze's film theories, accounting systematically for the ways in which they have influenced the investigation of contemporary visual culture and offering new directions for research. Contributors: Raymond Bellour, Centre Nationale de Recherches Scientifiques; Ronald Bogue, U of Georgia; Giuliana Bruno, Harvard U; Ian Buchanan, Cardiff U; James K. Chandler, U of Chicago; Tom Conley, Harvard U; Amy Herzog, CUNY; András Bálint Kovács, Eötvös Loránd U; Patricia MacCormack, Anglia Ruskin U; Timothy Murray, Cornell U; Dorothea Olkowski, U of Colorado; John Rajchman, Columbia U; Marie-Claire Ropars-Wuilleumier, U Paris VIII; Garrett Stewart, U of Iowa; Damian Sutton, Glasgow School of Art; Melinda Szaloky, UC Santa Barbara.

Similarly, as Deleuze explains in cinema, the collision or juxtaposition of images—albeit a “montage” on a horizontal plane of the movement-image—also forms a metaphor on a vertical plane (as in Eisenstein's “harmonics”), while metonymy ...

Author: Eugene B. Young

Publisher: Bloomsbury Publishing

ISBN: 9781350176102

Category: Art

Page: 344

View: 993

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Bringing together Deleuze, Blanchot, and Foucault, this book provides a detailed and original exploration of the ideas that influenced Deleuze's thought leading up to and throughout his cinema volumes and, as a result, proposes a new definition of art. Examining Blanchot's suggestion that art and dream are “outside” of power, as imagination has neither reality nor truth, and Foucault's theory that power forms knowledge by valuing life, Eugene Brent Young relates these to both Deleuze's philosophy of time and his work with Guattari on art. In doing so, he uses case studies from literature and popular film, including Kafka's Castle, Villeneuve's Arrival, and Kubrick's Eyes Wide Shut. Providing important new insights for those working in literary and cinematic studies, this book advances a new definition of art as that which reverses the realities and truths of power to express obscure ideas and values beyond both our exterior and interior worlds.
2022-01-13 By Eugene B. Young

Through montage, movement-images give way to perception-images, action-images, and affection-images; nonetheless, no film is entirely made up of one type. Deleuze's concept ofthe action-image is based on the notion of mental image, ...

Author: Cynthia Tompkins

Publisher: University of Texas Press

ISBN: 9780292744158

Category: Performing Arts

Page: 294

View: 776

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Includes a filmography with the bibliography.
2013-02-15 By Cynthia Tompkins

Movement, Action, Image, Montage: Sergei Eisenstein and the Cinema in Crisis. Minneapolis: University of Minnesota Press, 2018. The Ascent of Man. Created by David Attenborough. Perf. Jacob Bronowski. PBS. January 7–March 31, 1975.

Author: Shelton Waldrep

Publisher: Bloomsbury Publishing USA

ISBN: 9781501333088

Category: Social Science

Page: 304

View: 991

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As film and television become ever more focused on the pornographic gaze of the camera, the human body undergoes a metamorphosis, becoming both landscape and building, part of an architectonic design in which the erotics of the body spread beyond the body itself to influence the design of the film or televisual shot. The body becomes the mise-en-scène of contemporary moving imagery. Opening The Space of Sex, Shelton Waldrep sets up some important tropes for the book: the movement between high and low art; the emphasis on the body, looking, and framing; the general intermedial and interdisciplinary methodology of the book as a whole. The Space of Sex's second half focuses on how sex, gender, and sexuality are represented in several recent films, including Paul Schrader's The Canyons (2013), Oliver Stone's Savages (2012), Steven Soderbergh's Magic Mike (2012), Lars Von Trier's Nymphomaniac (2013), and Joseph Gordon-Levitt's Don Jon (2013). Each of these mainstream or independent movies, and several more, are examined for the ways they have attempted to absorb pornography, if not the pornography industry specifically, into their plot. According to Waldrep, the utopian elements of seventies porn get reprocessed in a complex way in the twenty-first century as both a utopian impulse-the desire to have sex on the screen, to re-eroticize sex as something positive and lacking in shame-with a mixed feeling about pornography itself, with an industry that can be seen in a dystopian light. In other words, sex, in our contemporary world, still does not come without compromise.
2021-05-20 By Shelton Waldrep