LEADER 02788cam a2200289 a 4500
001 367639
003 TNML
005 20171107181240.0
008 180321s2016 nyu e 000 0 eng d
010 $a 2016009710
020 $a9781628922417 (pbk.) :$cNT$911$
035 $aNO000130447
035 $a917567
037 $a公共圖書館臺南分區資源中心
040 $aDLC$beng$cDLC$erda$dTAE
050 00$aPN1995.5$b.H365 2016
082 04$a791.4301$222
090 $a臺南市立圖書館
100 1 $aHarbord, Janet,$eauthor.
245 10$aEx-centric cinema :$bGiorgio Agamben and film archaeology /$cJanet Harbord.
246 3 $aExcentric cinema.
260 $aNew York :$bBloomsbury Academic, an imprint of Bloomsbury Publishing, Inc.,$c2016.
300 $axii, 259 p. ;$c23 cm.
490 1 $aThinking cinema.
504 $aIncludes bibliographical references and index.
505 0 $aMachine generated contents note: -- Introduction -- 1 Ex-centric Cinema: An Archaeological Method -- 2 Mute Cinema: Gesture and the Impression of Character -- 3 Animal: Cinema as an Anthropological Machine -- 4 Profaning the Cinematic: Children, Assistants, Ghosts -- 5 Conditions of Cinematic Possibility: Repetition and Stoppage -- 6 The Coming Community -- Bibliography -- Index.
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.
600 10$aAgamben, Giorgio,$d1942-$xCriticism and interpretation.
650 0$aMotion pictures$xMoral and ethical aspects.
650 0$aMotion pictures$xPhilosophy.
650 0$aMotion pictures$xAesthetics.
653 $a文化創意
830 0$aThinking cinema.