Les livres en français sont sur www.livres-cinema.info
Chaoid Cinema
Deleuze & Guattari and the Topological Vector of Silence
(0 vote)Moyenne des votes :
| 0 | vote |  = On peut s'en passer |
| 0 | vote |  = Bon livre |
| 0 | vote |  = Excellent livre |
| 0 | vote |  = Unique / une référence |
Votre vote : -
Description de l'ouvrage:
A Deleuzian analysis of the role of silence as chaotic interstice in sound film
• Applies Deleuze and Guattari’s Chaoids to cinema for the first time
• Uses case studies from world cinemas - Iran, Brazil, France, UK, U.S.A., Germany – to explore different philosophical, cultural and historical contexts
• Brings together Film-Philosophy, Comparative Literature (Lettrism, Iranian poetry, Joyce and Ponge), Film History and radical movements from the 1960s and ‘70s
Expanding on a burgeoning area in contemporary film studies that explores visual and aural absences and interstices in film narrative, this book explores silences in the soundtrack – not ambient silence or so-called ‘room tone’ but complete sound drop-outs, as if the film projector had broken down, thereby jolting the audience out of their passive relationship to the screen, forcing them to become aware of their surroundings and the material apparatus of film as a mechanical device.
Drawing on Deleuze and Guattari’s concept of Chaoids, which are various organizations of chaos through the different disciplines of science, philosophy and art, this book uses silence to pursue a variety of vectors that open up the surface plane of art (in this case cinema) to discover different philosophical (and by extension, political) singularities and multiplicities.
À propos de l'auteur :
Colin Gardner is Professor of Critical Theory and Integrative Studies in the departments of Art, Film and Media Studies, the History of Art and Architecture, and Comparative Literature at the University of California, Santa Barbara. He is the author of Beckett, Deleuze and the Televisual Event: Peephole Art (Palgrave Macmillan, 2012), Karel Reisz (Manchester University Press, 2007) and Joseph Losey (Manchester University Press, 2004).
Revue de Presse:
Gardner’s pioneering work turns up the theoretical and philosophical volume on what is typically disregarded by critics and dismissed by directors in sound films: silence. Drawing on the ecosophical dimension of Deleuze and Guattari’s thought and building on an impressive range of examples from 1931 to 2009, Gardner performs a virtuosic recital of sonic dropouts, pregnant pauses, and zones of silence in cinema. This visionary book will serve as an ideal companion to emergent works of scholarship on visual absence and darkness in film studies and film-philosophy.– Tanya Shilina-Conte, SUNY at Buffalo
Voir le site internet de l'éditeur Edinburgh University Press
> Du même auteur :
> Sur un thème proche :
Cinecepts, Deleuze, and Godard-Miéville (2023)
Developing Philosophy through Audiovisual Media
Sujet : Theory
Deleuze's Cinema Books (2016)
Three Introductions to the Taxonomy of Images
de David Deamer
Sujet : Theory
Special Affects (2014)
Cinema, Animation and the Translation of Consumer Culture
de Eric Jenkins
Sujet : Theory
Retour
