Introduction: Cinematic Map-Making
01 Jan 2015-pp 1-24
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TL;DR: Sobchack as discussed by the authors argued that the movie experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision.
Abstract: Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author proposes that the cinematic experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical and signifying nature of that embodied vision we each live daily as both "mine" and "another's". In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.
826 citations
Book•
01 Jan 1993
TL;DR: Friedberg as mentioned in this paper explores the ways in which nineteenth-century visual experiences--photography, urban strolling, panorama and diorama entertainments--anticipate contemporary pleasures provided by cinema, video, shopping malls, and emerging "virtual reality" technologies.
Abstract: Departing from those who define postmodernism in film merely as a visual style or set of narrative conventions, Anne Friedberg develops the first sustained account of the cinema's role in postmodern culture. She explores the ways in which nineteenth-century visual experiences--photography, urban strolling, panorama and diorama entertainments--anticipate contemporary pleasures provided by cinema, video, shopping malls, and emerging "virtual reality" technologies. Comparing the visual practices of shopping, tourism, and film-viewing, Friedberg identifies the experience of "virtual" mobility through time and space as a key determinant of postmodern cultural identity. Evaluating the theories of Jameson, Lyotard, Baudrillard, and others, she adds critical insights about the role of gender and gender mobility in the configurations of consumer culture. A strikingly original work, Window Shopping challenges many of the existing assumptions about what exactly postmodern is. This book marks the emergence of a compelling new voice in the study of contemporary culture.
509 citations
Book•
05 Dec 1995
TL;DR: In The Threshold of the Visible World Kaja Silverman advances a new political aesthetic, exploring the possibilities for looking beyond the restrictive mandates of the self and the normative aspects of the cultural image-repertoire.
Abstract: In The Threshold of the Visible World Kaja Silverman advances a revolutionary new political aesthetic, exploring the possibilities for looking beyond the restrictive mandates of the self, and the normative aspects of the cultural image-repertoire. She provides a detailed account of the social and psychic forces which constrain us to look and identify in normative ways, and the violence which that normativity implies.
479 citations
Book•
01 Jan 2002
TL;DR: Bruno's Atlas of Emotion as discussed by the authors is a highly original endeavor to map a cultural history of spatio-visual arts, emphasizing that the voyeur must also be the voyageur, that "sight" and "site" are irrevocably connected.
Abstract: Choice: Outstanding Academic Title of the Year; Guardian: Book of the Year; 2004 Kraszna-Krausz Prize Winner Traversing a varied and enchanting landscape with forays into the fields of geography, art, architecture, design, cartography and film, Giuliana Bruno's Atlas of Emotion is a highly original endeavor to map a cultural history of spatio-visual arts. Throughout these pages Bruno insists on the inseparability of seeing and travelling. In an evocative montage of words and pictures she emphasizes that the voyeur must also be the voyageur, that "sight" and "site" are irrevocably connected. In so doing, she touches on the art of Gerhard Richter and Annette Messagem; the film-making of Peter Greenaway and Michaelangelo Antonioni; the origins of the movie palace and its precursors, the camera obscura, the curiosity cabinet, the tableaux vivant; and on her own journeys to her native Naples. Visually luscious and daring in conception, the journey for which Bruno is our cicerone opens new vistas and understandings at every turn. This is an affective mapping that ultimately puts us in touch with mental landscapes and inner worlds.
320 citations