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008 220629t20222010stk fo d z eng d
020 _a9780748638918
_qprint
020 _a9780748642205
_qPDF
024 7 _a10.1515/9780748642205
_2doi
035 _a(DE-B1597)9780748642205
035 _a(DE-B1597)614319
035 _a(OCoLC)1302165587
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aPER004000
_2bisacsh
084 _aonline - DeGruyter
100 1 _aMcNeill, Isabelle
_eautore
245 1 0 _aMemory and the Moving Image :
_bFrench Film in the Digital Era /
_cIsabelle McNeill.
264 1 _aEdinburgh :
_bEdinburgh University Press,
_c[2022]
264 4 _c©2010
300 _a1 online resource (192 p.) :
_b9 B/W halftones
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tCONTENTS --
_tList of Illustrations --
_tAcknowledgements --
_tIntroduction: Film and Memory in Contemporary France --
_t1 Memory and the Moving Image --
_t2 Virtual Museums and Memory Objects --
_t3 Facing the Past --
_t4 Memory Maps and City Space --
_tConclusion --
_tFilmography --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aGBS_insertPreviewButtonPopup('ISBN:9780748638918);A vital rethinking of memory and the moving image for the digital age, Isabelle McNeill investigates the role of the moving image in cultural memory, considering the impact of digital technologies on visual culture. Drawing on an interdisciplinary range of theoretical resources and an unusual body of films and moving image works, the author examines the ways in which recent French filmmaking conceptualises both the past and the workings of memory. Ultimately the author argues that memory is an intersubjective process, in which filmic forms continue to play a crucial role even as new media come to dominate our contemporary experience.Memory and the Moving Image:Introduces new ways of thinking about the relation between film and memory, arising from a compelling, interdisciplinary study of theories and filmsSubtly explores the French context while drawing theoretical conclusions with wider implications and applicabilityProvides detailed and illuminating close readings of varied moving image works to aid theoretical explorationsMoves away from auteurist approaches, examining work by canonical directors including Jean-Luc Godard, Chris Marker and Agnès Varda alongside that of less well-known filmmakers such as Claire Simon and Yamina BenguiguiBrings together thinkers such as Bergson, Deleuze, Bazin and Barthes with, for example, Rodowick and Mulvey, in an engaging interweaving of theories.Works considered include Jean-Luc Godard's Histoire(s) du Cinéma (1989-98), Yamina Benguigui's Mémoires d'Immigrés (1997), Chris Marker's CD-ROM Immemory (1998), Claire Simon's Mimi (2003), Michael Haneke's Caché (2005) and Agnès Varda's multi-media exhibition, L'Île et Elle (2006)."
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jun 2022)
650 4 _aFilm, Media & Cultural Studies.
650 7 _aPERFORMING ARTS / Film & Video / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9780748642205?locatt=mode:legacy
856 4 0 _uhttps://www.degruyter.com/isbn/9780748642205
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780748642205/original
942 _cEB
999 _c196425
_d196425