MARC Record from marc_columbia

LEADER: 04287cam a2200613 i 4500
001 12441494
005 20170419145852.0
008 160418t20162016nyua b 001 0 eng
010 $a 2016009710
020 $a9781628922424$q(hardback)
020 $a1628922427$q(hardback)
020 $a9781628922417$q(pb)
020 $a1628922419$q(pb)
020 $a9781628922387$q(epdf)
020 $a1628922389$q(epdf)
020 $a9781628922400$q(epub)
020 $a1628922400$q(epub)
024 $a40026684705
035 $a(OCoLC)ocn946987371
035 $a(OCoLC)946987371
035 $a(NNC)12441494
040 $aDLC$beng$erda$cDLC$dOCLCF$dOCLCO$dOCLCQ$dOCLCO$dYDX$dERASA$dUPM
042 $apcc
050 00 $aPN1995.5$b.H365 2016
082 00 $a791.4301$223
084 $aPER004030$aPHI000000$2bisacsh
100 1 $aHarbord, Janet,$eauthor.
245 10 $aEx-centric cinema :$bGiorgio Agamben and film archaeology /$cJanet Harbord.
246 3 $aExcentric cinema
264 1 $aNew York :$bBloomsbury Academic, an imprint of Bloomsbury Publishing, Inc.,$c2016.
264 4 $c©2016
300 $axii, 259 pages :$billustrations ;$c24 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aThinking cinema ;$vvolume 10
520 $a"In the beginning, cinema was an encounter between humans, images and machine technology, revealing a stream of staccato gestures, micrographic worlds, and landscapes seen from above and below. In this sense, cinema's potency was its ability to bring other, non-human modes of being into view, to forge an encounter between multiple realities that nonetheless co-exist. Yet the story of cinema became (through its institutionalization) one in which the human swiftly assumed centrality through the literary crafting of story, character and the expression of interiority. Ex-centric Cinema takes an archaeological approach to the study of cinema through the writings of philosopher Giorgio Agamben, arguing that whilst we have a century-long tradition of cinema, the possibility of what cinema may have become is not lost, but co-exists in the present as an unexcavated potential. The term given to this history is ex-centric cinema, describing a centre-less moving image culture where animals, children, ghosts and machines are privileged vectors, where film is always an incomplete project, and where audiences are a coming community of ephemeral connections and links. Discussing such filmmakers as Harun Farocki, the Lumiere Brothers, Guy Debord and Wong Kar-wai, Janet Harbord draws connections with Agamben to propose a radically different way of thinking about cinema."--$cProvided by publisher.
520 $a"Demonstrates how Agamben's ideas can enrich and extend our understanding of film as a medium and the cinema as an apparatus, constantly being remade"--$cProvided by publisher.
504 $aIncludes bibliographical references (pages 235-244) and index.
505 0 $aGirls and other incomplete things: on archaeological method -- Gesture: cinema muto mutato -- Dim stockings and pornography: community, spectacle and the example -- Cinema as laboratory: on insects and the anthropological machine -- When the assistants profane cinema -- Ex-centric cinema.
600 10 $aAgamben, Giorgio,$d1942-$xCriticism and interpretation.
600 17 $aAgamben, Giorgio,$d1942-$2fast$0(OCoLC)fst00075714
650 0 $aMotion pictures$xMoral and ethical aspects.
650 0 $aMotion pictures$xPhilosophy.
650 0 $aMotion pictures$xAesthetics.
650 7 $aPERFORMING ARTS$xFilm & Video$xHistory & Criticism.$2bisacsh
650 7 $aPHILOSOPHY$xGeneral.$2bisacsh
650 7 $aMotion pictures$xAesthetics.$2fast$0(OCoLC)fst01027288
650 7 $aMotion pictures$xMoral and ethical aspects.$2fast$0(OCoLC)fst01027344
650 7 $aMotion pictures$xPhilosophy.$2fast$0(OCoLC)fst01027348
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
776 08 $iOnline version:$aHarbord, Janet, author.$tEx-centric cinema.$dNew York : Bloomsbury Academic, an imprint of Bloomsbury Publishing, Inc., 2016$z9781628922387$w(DLC) 2016021676
830 0 $aThinking Cinema ;$vv. 10.
852 00 $bglx$hPN1995.5$i.H365 2016