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The Supermarket of the Visible : Toward a General Economy of Images / Peter Szendy.

By: Contributor(s): Material type: TextTextSeries: Thinking Out LoudPublisher: New York, NY : Fordham University Press, [2019]Copyright date: ©2019Description: 1 online resource (160 p.) : 55Content type:
Media type:
Carrier type:
ISBN:
  • 9780823283583
  • 9780823283590
Subject(s): DDC classification:
  • 791.4301 23
LOC classification:
  • PN1995 .S96613 2019
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- Sydney Lectures -- one. Money, or The Other Side of Images -- two. The Point of (No) Exchange, or The Debt- Image -- three. Innervation, or The Gaze of Capital -- Additional Features -- Merchandise -- Deleted Scenes -- Deleted Scenes -- Photo Gallery -- Locations -- Deleted Scene -- Deleted Scenes -- Deleted Scenes -- Formats -- Credits -- Notes -- Index
Summary: Already in 1929, Walter Benjamin described "a one hundred per cent image-space." Such an image space saturates our world now more than ever, constituting the visibility in which we live. The Supermarket of the Visible analyzes this space and the icons that populate it as the culmination of a history of the circulation and general commodification of images and gazes. From the first elevators and escalators (tracking shots avant la lettre) to cinema (the great conductor of gazes), all the way down to contemporary eye-tracking techniques that monitor the slightest saccades of our eyes, Peter Szendy offers an entirely novel theory of the intersection of the image and economics.The Supermarket of the Visible elaborates an economy proper to images, icons, in other words, an iconomy. Deleuze caught a glimpse of this when he wrote that "money is the back side of all the images that cinema shows and edits on the front." Since "cinema," for Deleuze, is synonymous with "universe," Szendy argues that this sentence must be understood in its broadest dimension and that a reading of key works in the history of cinema allows us a unique vantage point upon the reverse of images, their monetary implications. Paying close attention to sequences in Hitchcock, Bresson, Antonioni, De Palma, and The Sopranos, Szendy shows how cinema is not a uniquely commercial art form among other, purer arts, but, more fundamentally, helps to elaborate what might be called, with Bataille, a general iconomy.Moving deftly and lightly between political economy, aesthetic theory, and popular movies and television, The Supermarket of the Visible will be a necessary book for anyone concerned with media, philosophy, politics, or visual culture.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780823283590

Frontmatter -- Contents -- Sydney Lectures -- one. Money, or The Other Side of Images -- two. The Point of (No) Exchange, or The Debt- Image -- three. Innervation, or The Gaze of Capital -- Additional Features -- Merchandise -- Deleted Scenes -- Deleted Scenes -- Photo Gallery -- Locations -- Deleted Scene -- Deleted Scenes -- Deleted Scenes -- Formats -- Credits -- Notes -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Already in 1929, Walter Benjamin described "a one hundred per cent image-space." Such an image space saturates our world now more than ever, constituting the visibility in which we live. The Supermarket of the Visible analyzes this space and the icons that populate it as the culmination of a history of the circulation and general commodification of images and gazes. From the first elevators and escalators (tracking shots avant la lettre) to cinema (the great conductor of gazes), all the way down to contemporary eye-tracking techniques that monitor the slightest saccades of our eyes, Peter Szendy offers an entirely novel theory of the intersection of the image and economics.The Supermarket of the Visible elaborates an economy proper to images, icons, in other words, an iconomy. Deleuze caught a glimpse of this when he wrote that "money is the back side of all the images that cinema shows and edits on the front." Since "cinema," for Deleuze, is synonymous with "universe," Szendy argues that this sentence must be understood in its broadest dimension and that a reading of key works in the history of cinema allows us a unique vantage point upon the reverse of images, their monetary implications. Paying close attention to sequences in Hitchcock, Bresson, Antonioni, De Palma, and The Sopranos, Szendy shows how cinema is not a uniquely commercial art form among other, purer arts, but, more fundamentally, helps to elaborate what might be called, with Bataille, a general iconomy.Moving deftly and lightly between political economy, aesthetic theory, and popular movies and television, The Supermarket of the Visible will be a necessary book for anyone concerned with media, philosophy, politics, or visual culture.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)