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008 210830t20141995nju fo d z eng d
019 _a(OCoLC)1013955744
020 _a9780691600673
_qprint
020 _a9781400864027
_qPDF
024 7 _a10.1515/9781400864027
_2doi
035 _a(DE-B1597)9781400864027
035 _a(DE-B1597)447541
035 _a(OCoLC)922697810
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aPN1995.25
072 7 _aPER004030
_2bisacsh
082 0 4 _a791.43/01
_220
084 _aonline - DeGruyter
100 1 _aPeucker, Brigitte
_eautore
245 1 0 _aIncorporating Images :
_bFilm and the Rival Arts /
_cBrigitte Peucker.
250 _aCourse Book
264 1 _aPrinceton, NJ :
_bPrinceton University Press,
_c[2014]
264 4 _c©1995
300 _a1 online resource (240 p.) :
_b2 halftones on 12 pages
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aPrinceton Legacy Library ;
_v300
505 0 0 _tFrontmatter --
_tContents --
_tIllustrations --
_tAcknowledgments --
_tIntroduction --
_tCHAPTER 1. Movement, Fragmentation, and the Uncanny --
_tCHAPTER 2. Monstrous Births: The Hybrid Text --
_tCHAPTER 3. Incorporation: Images and the Real --
_tAfterword --
_tNotes --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aFilm, a latecomer to the realm of artistic media, alludes to, absorbs, and undermines the discourses of the other arts--literature and painting especially--in order to carve out a position for itself among them. Exposing the anxiety in film's relation to its rival arts, Brigitte Peucker analyzes central issues involved in generic boundary crossing as they pertain to film and situates them in a theoretical framework. The figure of the human body takes center stage in Peucker's innovative study, for it is through this figure that the conjunction of literary and painterly discourses persistently articulates itself. It is through the human body, too, that film's consciousness of itself as a hybrid text and as a "machine for simulation" makes itself deeply felt.In films ranging from Weimar cinema through Griffith, Hitchcock, and Greenaway, Peucker probes issues in aesthetics problematized by Diderot and Kleist, among others. She argues that the introduction of movement into visual representation occasioned by film brings with it an underlying tension suggestive of castration and death. Peucker goes on to demonstrate how the encounter between narrative and image is both gendered and sexualized, rendering film a "monstrous" hybrid. In a final section, she explores in specific cinematic texts the permeable boundary between the real and representation, suggesting how effects such as tableau vivant and trompe l'oeil figure sexuality and death.Originally published in 1995.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
530 _aIssued also in print.
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 30. Aug 2021)
650 0 _aMotion pictures and the arts.
650 0 _aMotion pictures
_xAesthetics.
650 7 _aPERFORMING ARTS / Film & Video / History & Criticism.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9781400864027
856 4 0 _uhttps://www.degruyter.com/isbn/9781400864027
856 4 2 _3Cover
_uhttps://www.degruyter.com/cover/covers/9781400864027.jpg
942 _cEB
999 _c208235
_d208235