Eye of the Century: Film, Experience, Modernity

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9780231139953: Eye of the Century: Film, Experience, Modernity

Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity. He suggests that film defined a unique gaze, not only because it recorded many of the century's most important events, but also because it determined the manner in which they were received. Casetti begins by examining film's nature as a medium in an age obsessed with immediacy, nearness, and accessibility. He considers the myths and rituals cinema constructed on the screen and in the theater and how they provided new images and behaviors that responded to emerging concerns, ideas, and social orders. Film also succeeded in negotiating the different needs of modernity, comparing and uniting conflicting stimuli, providing answers in a world torn apart by conflict, and satisfying a desire for everydayness, as well as lightness, in people's lives. The ability to communicate, the power to inform, and the capacity to negotiate-these are the three factors that defined film's function and outlook and made the medium a relevant and vital art form of its time. So what kind of gaze did film create? Film cultivated a personal gaze, intimately tied to the emergence of point of view, but also able to restore the immediacy of the real; a complex gaze, in which reality and imagination were combined; a piercing gaze, achieved by machine, and yet deeply anthropomorphic; an excited gaze, rich in perceptive stimuli, but also attentive to the spectator's orientation; and an immersive gaze, which gave the impression of being inside the seen world while also maintaining a sense of distance. Each of these gazes combined two different qualities and balanced them. The result was an ever inventive synthesis that strived to bring about true compromises without ever sacrificing the complexity of contradiction. As Casetti demonstrates, film proposed a vision that, in making opposites permeable, modeled itself on an oxymoronic principle. In this sense, film is the key to reading and understanding the modern experience.

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Francesco Casetti
Editore: Columbia University Press, United States (2008)
ISBN 10: 0231139950 ISBN 13: 9780231139953
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Descrizione libro Columbia University Press, United States, 2008. Paperback. Condizione libro: New. 224 x 152 mm. Language: English . Brand New Book. Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity. He suggests that film defined a unique gaze, not only because it recorded many of the century s most important events, but also because it determined the manner in which they were received. Casetti begins by examining film s nature as a medium in an age obsessed with immediacy, nearness, and accessibility. He considers the myths and rituals cinema constructed on the screen and in the theater and how they provided new images and behaviors that responded to emerging concerns, ideas, and social orders. Film also succeeded in negotiating the different needs of modernity, comparing and uniting conflicting stimuli, providing answers in a world torn apart by conflict, and satisfying a desire for everydayness, as well as lightness, in people s lives. The ability to communicate, the power to inform, and the capacity to negotiate-these are the three factors that defined film s function and outlook and made the medium a relevant and vital art form of its time. So what kind of gaze did film create? Film cultivated a personal gaze, intimately tied to the emergence of point of view, but also able to restore the immediacy of the real; a complex gaze, in which reality and imagination were combined; a piercing gaze, achieved by machine, and yet deeply anthropomorphic; an excited gaze, rich in perceptive stimuli, but also attentive to the spectator s orientation; and an immersive gaze, which gave the impression of being inside the seen world while also maintaining a sense of distance. Each of these gazes combined two different qualities and balanced them. The result was an ever inventive synthesis that strived to bring about true compromises without ever sacrificing the complexity of contradiction. As Casetti demonstrates, film proposed a vision that, in making opposites permeable, modeled itself on an oxymoronic principle. In this sense, film is the key to reading and understanding the modern experience. Codice libro della libreria AAU9780231139953

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Francesco Casetti
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Descrizione libro Columbia University Press. Paperback. Condizione libro: new. BRAND NEW, Eye of the Century: Film, Experience, Modernity, Francesco Casetti, Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity. He suggests that film defined a unique gaze, not only because it recorded many of the century's most important events, but also because it determined the manner in which they were received. Casetti begins by examining film's nature as a medium in an age obsessed with immediacy, nearness, and accessibility. He considers the myths and rituals cinema constructed on the screen and in the theater and how they provided new images and behaviors that responded to emerging concerns, ideas, and social orders. Film also succeeded in negotiating the different needs of modernity, comparing and uniting conflicting stimuli, providing answers in a world torn apart by conflict, and satisfying a desire for everydayness, as well as lightness, in people's lives. The ability to communicate, the power to inform, and the capacity to negotiate-these are the three factors that defined film's function and outlook and made the medium a relevant and vital art form of its time. So what kind of gaze did film create? Film cultivated a personal gaze, intimately tied to the emergence of point of view, but also able to restore the immediacy of the real; a complex gaze, in which reality and imagination were combined; a piercing gaze, achieved by machine, and yet deeply anthropomorphic; an excited gaze, rich in perceptive stimuli, but also attentive to the spectator's orientation; and an immersive gaze, which gave the impression of being inside the seen world while also maintaining a sense of distance. Each of these gazes combined two different qualities and balanced them. The result was an ever inventive synthesis that strived to bring about true compromises without ever sacrificing the complexity of contradiction. As Casetti demonstrates, film proposed a vision that, in making opposites permeable, modeled itself on an oxymoronic principle. In this sense, film is the key to reading and understanding the modern experience. Codice libro della libreria B9780231139953

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Francesco Casetti
Editore: Columbia University Press, United States (2008)
ISBN 10: 0231139950 ISBN 13: 9780231139953
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Descrizione libro Columbia University Press, United States, 2008. Paperback. Condizione libro: New. 224 x 152 mm. Language: English . Brand New Book. Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity. He suggests that film defined a unique gaze, not only because it recorded many of the century s most important events, but also because it determined the manner in which they were received. Casetti begins by examining film s nature as a medium in an age obsessed with immediacy, nearness, and accessibility. He considers the myths and rituals cinema constructed on the screen and in the theater and how they provided new images and behaviors that responded to emerging concerns, ideas, and social orders. Film also succeeded in negotiating the different needs of modernity, comparing and uniting conflicting stimuli, providing answers in a world torn apart by conflict, and satisfying a desire for everydayness, as well as lightness, in people s lives. The ability to communicate, the power to inform, and the capacity to negotiate-these are the three factors that defined film s function and outlook and made the medium a relevant and vital art form of its time. So what kind of gaze did film create? Film cultivated a personal gaze, intimately tied to the emergence of point of view, but also able to restore the immediacy of the real; a complex gaze, in which reality and imagination were combined; a piercing gaze, achieved by machine, and yet deeply anthropomorphic; an excited gaze, rich in perceptive stimuli, but also attentive to the spectator s orientation; and an immersive gaze, which gave the impression of being inside the seen world while also maintaining a sense of distance. Each of these gazes combined two different qualities and balanced them. The result was an ever inventive synthesis that strived to bring about true compromises without ever sacrificing the complexity of contradiction. As Casetti demonstrates, film proposed a vision that, in making opposites permeable, modeled itself on an oxymoronic principle. In this sense, film is the key to reading and understanding the modern experience. Codice libro della libreria AAU9780231139953

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Casetti, Francesco
Editore: Columbia University Press (2008)
ISBN 10: 0231139950 ISBN 13: 9780231139953
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Descrizione libro Columbia University Press, 2008. Condizione libro: New. Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? This book situates the cinematic experience within discourses of twentieth-century modernity. It examines film's nature as a medium in an age obsessed with immediacy, nearness, and accessibility. Series: Film and Culture Series. Num Pages: 269 pages. BIC Classification: APF. Category: (UU) Undergraduate. Dimension: 155 x 229 x 15. Weight in Grams: 392. Film, Experience, Modernity. Series: Film and Culture Series. 269 pages. Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? This book situates the cinematic experience within discourses of twentieth-century modernity. It examines film's nature as a medium in an age obsessed with immediacy, nearness, and accessibility. Cateogry: (UU) Undergraduate. BIC Classification: APF. Dimension: 155 x 229 x 15. Weight: 396. . 2008. Paperback. . . . . . Codice libro della libreria V9780231139953

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Descrizione libro Columbia University Press. Condizione libro: New. Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? This book situates the cinematic experience within discourses of twentieth-century modernity. It examines film's nature as a medium in an age obsessed with immediacy, nearness, and accessibility. Series: Film and Culture Series. Num Pages: 269 pages. BIC Classification: APF. Category: (UU) Undergraduate. Dimension: 155 x 229 x 15. Weight in Grams: 392. Film, Experience, Modernity. Series: Film and Culture Series. 269 pages. Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? This book situates the cinematic experience within discourses of twentieth-century modernity. It examines film's nature as a medium in an age obsessed with immediacy, nearness, and accessibility. Cateogry: (UU) Undergraduate. BIC Classification: APF. Dimension: 155 x 229 x 15. Weight: 396. . 2008. Paperback. . . . . Books ship from the US and Ireland. Codice libro della libreria V9780231139953

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Descrizione libro Columbia University Press, 2008. PAP. Condizione libro: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Codice libro della libreria BB-9780231139953

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Descrizione libro Columbia Univ Pr, 2008. Condizione libro: New. Codice libro della libreria EH9780231139953

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Descrizione libro Paperback. Condizione libro: New. Not Signed; Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity. He suggests tha. book. Codice libro della libreria ria9780231139953_rkm

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