jiri anger (19 resultados)

Condición: New.

Condición: As New. Unread book in perfect condition.

Condición: New.

Condición: As New. Unread book in perfect condition.

Condición: New.

Condición: As New. Unread book in perfect condition.

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Condición: As New. Unread book in perfect condition.

Buch. Condición: Neu. Neuware - 'This book explores the weird shapes that emerge when material elements interact with figurative content of the moving image. Employing the digitized first Czech films by Jan Krâiézeneckây prompted the questions: is it possible to do film theory from below, from the perspective of a film object Could we treat accidents in moving images as full-fledged actors with distinctive aesthetic forms and functions In these films, analog elements impinge upon the form and content of the moving images to create generative figures and shapes. Using digital technology, we can isolate these features and experiment with how they can be reimagined'--.

PAP. Condición: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condición: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Paperback. Condición: new. Paperback. Operating between film theory, media philosophy, archival practice, and audiovisual research, Jiri Anger focuses on the relationship between figuration and materiality in early films, experimental found footage cinema, and video essays. Would it be possible to do film theory from below, through the perspective of moving-image objects, of their multifarious details and facets, however marginal, unintentional, or aleatory they might be? Could we treat scratches, stains, and shakes in archival footage as speculatively and aesthetically generative features? Do these material actors have the capacity to create weird shapes within the figurative image that decenter, distort, and transform the existing conceptual and methodological frameworks?Building on his theoretical as well as practical experience with the recently digitized corpus of the first Czech films, created by Jan Krizenecky between 1898 and 1911, the author demonstrates how technological defects and accidents in archival films shape their aesthetic function and our understanding of the materiality of film in the digital age. The specific clashes between the figurative and material spheres are understood through the concept of a crack-up. This term, developed by Francis Scott Fitzgerald and theoretically reimagined by Gilles Deleuze, allows us to capture the convoluted relationship between figuration and materiality as inherent to the medium of film, containing negativity and productivity, difference and simultaneity, contingency and fate, at the same time, even within the tiniest cinematic units. The book demonstrates how technological defects and accidents in archival films shape their aesthetic function as well our understanding of archival footage in the digital age in the recently digitized first Czech films. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. Operating between film theory, media philosophy, archival practice, and audiovisual research, Jiri Anger focuses on the relationship between figuration and materiality in early films, experimental found footage cinema, and video essays. Would it be possible to do film theory from below, through the perspective of moving-image objects, of their multifarious details and facets, however marginal, unintentional, or aleatory they might be? Could we treat scratches, stains, and shakes in archival footage as speculatively and aesthetically generative features? Do these material actors have the capacity to create weird shapes within the figurative image that decenter, distort, and transform the existing conceptual and methodological frameworks?Building on his theoretical as well as practical experience with the recently digitized corpus of the first Czech films, created by Jan Krizenecky between 1898 and 1911, the author demonstrates how technological defects and accidents in archival films shape their aesthetic function and our understanding of the materiality of film in the digital age. The specific clashes between the figurative and material spheres are understood through the concept of a crack-up. This term, developed by Francis Scott Fitzgerald and theoretically reimagined by Gilles Deleuze, allows us to capture the convoluted relationship between figuration and materiality as inherent to the medium of film, containing negativity and productivity, difference and simultaneity, contingency and fate, at the same time, even within the tiniest cinematic units. The book demonstrates how technological defects and accidents in archival films shape their aesthetic function as well our understanding of archival footage in the digital age in the recently digitized first Czech films. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

HRD. Condición: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

HRD. Condición: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Taschenbuch. Condición: Neu. Towards a Film Theory from Below | Archival Film and the Aesthetics of the Crack-Up | Jiri Anger | Taschenbuch | Thinking Media | Englisch | 2025 | Bloomsbury Academic | EAN 9798765107270 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu Print on Demand.

Hardcover. Condición: new. Hardcover. Operating between film theory, media philosophy, archival practice, and audiovisual research, Jiri Anger focuses on the relationship between figuration and materiality in early films, experimental found footage cinema, and video essays. Would it be possible to do film theory from below, through the perspective of moving-image objects, of their multifarious details and facets, however marginal, unintentional, or aleatory they might be? Could we treat scratches, stains, and shakes in archival footage as speculatively and aesthetically generative features? Do these material actors have the capacity to create weird shapes within the figurative image that decenter, distort, and transform the existing conceptual and methodological frameworks?Building on his theoretical as well as practical experience with the recently digitized corpus of the first Czech films, created by Jan Krizenecky between 1898 and 1911, the author demonstrates how technological defects and accidents in archival films shape their aesthetic function and our understanding of the materiality of film in the digital age. The specific clashes between the figurative and material spheres are understood through the concept of a crack-up. This term, developed by Francis Scott Fitzgerald and theoretically reimagined by Gilles Deleuze, allows us to capture the convoluted relationship between figuration and materiality as inherent to the medium of film, containing negativity and productivity, difference and simultaneity, contingency and fate, at the same time, even within the tiniest cinematic units. The book demonstrates how technological defects and accidents in archival films shape their aesthetic function as well our understanding of archival footage in the digital age in the recently digitized first Czech films. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condición: new. Hardcover. Operating between film theory, media philosophy, archival practice, and audiovisual research, Jiri Anger focuses on the relationship between figuration and materiality in early films, experimental found footage cinema, and video essays. Would it be possible to do film theory from below, through the perspective of moving-image objects, of their multifarious details and facets, however marginal, unintentional, or aleatory they might be? Could we treat scratches, stains, and shakes in archival footage as speculatively and aesthetically generative features? Do these material actors have the capacity to create weird shapes within the figurative image that decenter, distort, and transform the existing conceptual and methodological frameworks?Building on his theoretical as well as practical experience with the recently digitized corpus of the first Czech films, created by Jan Krizenecky between 1898 and 1911, the author demonstrates how technological defects and accidents in archival films shape their aesthetic function and our understanding of the materiality of film in the digital age. The specific clashes between the figurative and material spheres are understood through the concept of a crack-up. This term, developed by Francis Scott Fitzgerald and theoretically reimagined by Gilles Deleuze, allows us to capture the convoluted relationship between figuration and materiality as inherent to the medium of film, containing negativity and productivity, difference and simultaneity, contingency and fate, at the same time, even within the tiniest cinematic units. The book demonstrates how technological defects and accidents in archival films shape their aesthetic function as well our understanding of archival footage in the digital age in the recently digitized first Czech films. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.