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OverviewIn a powerful challenge to mainstream film theory, Cinema's Bodily Illusions bridges genres and periods by focusing on cinema's power to evoke illusions: feeling like you're flying through space, experiencing 3D without glasses, or even hallucinating. Arguing that cinema is a technology to modulate perception, Scott C. Richmond demonstrates that cinema's proprioceptive aesthetics make it an urgent site of contemporary inquiry. Full Product DetailsAuthor: Scott C. RichmondPublisher: University of Minnesota Press Imprint: University of Minnesota Press Dimensions: Width: 14.00cm , Height: 3.80cm , Length: 21.60cm Weight: 0.340kg ISBN: 9780816690961ISBN 10: 0816690960 Pages: 264 Publication Date: 15 October 2016 Audience: College/higher education , Undergraduate , Postgraduate, Research & Scholarly Format: Hardback Publisher's Status: Active Availability: Temporarily unavailable The supplier advises that this item is temporarily unavailable. It will be ordered for you and placed on backorder. Once it does come back in stock, we will ship it out to you. Table of ContentsContents Introduction. Proprioceptive Aesthetics, or the Cinema 1. The Unfinished Business of Modernism: Anémic Cinéma 2. Beyond the Infinite, At Home in Finitude: 2001 3. Ecological Phenomenology: Merleau-Ponty and Gibson 4. Proprioception, the Écart: Koyaanisqatsi 5. The Body, Unbounded: Gravity 6. Aesthetics beyond the Phenomenal: The Flicker Conclusion. The Technicity of the Cinema: Apparatuses and Technics Acknowledgments Notes IndexReviewsIn laying out his theory of proprioceptive aesthetics in cinema, Cinema's Bodily Illusions makes a boldly provocative contribution to the study of bodies, film screens, and media technology. Rescuing cinematic illusion from the perjorative sense with which modernist film scholarship disparages it, Scott C. Richmond finds a visceral (rather than cerebral) thematization of the resonance between ordinary perception and cinematic perception.-Jennifer M. Barker, author of The Tactile Eye: Touch and the Cinematic Experience - Richmond's theory and method offers an important tool for doing some of the critical work that spectator theory cannot. Cinema's Bodily Illusions may become an influential vein within postmodern phenomenology. It offers a critical method for understanding the aesthetic moment outside of representational blinders. -PopMatters """In laying out his theory of proprioceptive aesthetics in cinema, Cinema’s Bodily Illusions makes a boldly provocative contribution to the study of bodies, film screens, and media technology. Rescuing cinematic illusion from the perjorative sense with which modernist film scholarship disparages it, Scott C. Richmond finds a visceral (rather than cerebral) thematization of the resonance between ordinary perception and cinematic perception.""—Jennifer M. Barker, author of The Tactile Eye: Touch and the Cinematic Experience ""Richmond’s theory and method offers an important tool for doing some of the critical work that spectator theory cannot. Cinema’s Bodily Illusions may become an influential vein within postmodern phenomenology. It offers a critical method for understanding the aesthetic moment outside of representational blinders.""—PopMatters" In laying out his theory of proprioceptive aesthetics in cinema, Cinema s Bodily Illusions makes a boldly provocative contribution to the study of bodies, film screens, and media technology. Rescuing cinematic illusion from the perjorative sense with which modernist film scholarship disparages it, Scott C. Richmond finds a visceral (rather than cerebral) thematization of the resonance between ordinary perception and cinematic perception. Jennifer M. Barker, author of The Tactile Eye: Touch and the Cinematic Experience Author InformationScott C. Richmond is assistant professor of cinema and digital media in the Cinema Studies Institute at the University of Toronto. Tab Content 6Author Website:Countries AvailableAll regions |