9781861892638 - Death 24x a Second: Stillness and the Moving Image de Mulvey, Laura (23 resultados)

Condición: acceptable. Fairly worn, but readable and intact. If applicable: Dust jacket, disc or access code may not be included.

paperback. Condición: Fine. We have 75,000 books to choose from -- Ship within 24 hours -- Satisfaction Guaranteed!

Paperback. Condición: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD PAPERBACK Standard-sized.

Paperback. Condición: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Condición: Very Good. Most items will be dispatched the same or the next working day. A copy that has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Condición: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned. Annotations to some page edges/pages, may include notes, highlighting or underlining.

Paperback. Condición: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Soft cover. Condición: Fair. Moderate shelf wear and some markings within, otherwise an intact copy.

Condición: As New. Unread book in perfect condition.

Condición: New.

paperback. Condición: New. Illustrated. Ships in a BOX from Central Missouri! UPS shipping for most packages, (Priority Mail for AK/HI/APO/PO Boxes).

Condición: New. Brand New.

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: new.

Paperback. Condición: new. Paperback. In Death 24 x a Second, Laura Mulvey addresses some of the key questions of film theory, semiotics, spectatorship and narrative. New media technologies, such as dvd, have transformed modes of film consumption and thus affected viewers? relationship to the image and to narrative structure. dvd gives viewers control of both image and story, so that films produced to be seen collectively and followed as their linear narratives demand may be found to contain unexpected (even unintended) and multiple structures of pleasure. The tension between the still frame and the moving image coincides with the cinema?s capacity to capture the appearance of life and preserve it after death. Mulvey proposes that with the arrival of new technologies and new ways of experiencing the cinematic image, film?s hidden stillness comes to the fore, thereby acquiring a new accessibility and visibility. The individual frame, the projected film?s best-kept secret, can now be revealed, by anyone, at the simple touch of a button. Easy access to repetition, slow motion and the freeze-frame may well shift the spectator?s pleasure to a fetishistic rather than a voyeuristic investment in the cinematic object.Yet, there is another, narrative aspect to the stillness/movement tension that is not specific to the cinema but has been reworked and reinvented within the constraints of mass entertainment story-telling. Mulvey detects, at the present moment, an attraction to endings, and with the threat of ?ending? hanging over the cinema itself, there is an extra awareness of the deathlike properties of narrative closure. Inevitably, such a conjunction shifts the attention of the psychoanalytically influenced critic away from a preoccupation with the erotic, as the propelling force of narrative, towards death. Freud?s concept of the death drive as applied to narrative structure allows a theoretical reassessment of cinematic story-telling which ultimately converges with cinema?s inherent stillness, its own death-like properties. The manipulation of the cinematic image by the viewer also makes visiblecinema's material and aesthetic attributes. By exploring how new technologiescan give new life to 'old' cinema, Death 24x A Second offers an originalre-evaluation of film's history and also its historical usefulness. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: Brand New. illustrated edition. 216 pages. 8.25x5.50x0.75 inches. In Stock.

Condición: New. 2006. Reprint. Paperback. Addresses some of the key questions of film theory, spectatorship and narrative. This title proposes that with the arrival of new technologies and new ways of experiencing the cinematic image, film's hidden stillness comes to the fore, thereby acquiring a new accessibility and visibility. Num Pages: 216 pages, 37 black & white illustrations. BIC Classification: APFA. Category: (G) General (US: Trade); (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 213 x 140 x 16. Weight in Grams: 394. . . . . .

Condición: New.

Paperback / softback. Condición: New. New copy - Usually dispatched within 4 working days.

Condición: New. 2006. Reprint. Paperback. Addresses some of the key questions of film theory, spectatorship and narrative. This title proposes that with the arrival of new technologies and new ways of experiencing the cinematic image, film's hidden stillness comes to the fore, thereby acquiring a new accessibility and visibility. Num Pages: 216 pages, 37 black & white illustrations. BIC Classification: APFA. Category: (G) General (US: Trade); (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 213 x 140 x 16. Weight in Grams: 394. . . . . . Books ship from the US and Ireland.

Condición: As New. Unread book in perfect condition.

Paperback. Condición: new. Paperback. In Death 24 x a Second, Laura Mulvey addresses some of the key questions of film theory, semiotics, spectatorship and narrative. New media technologies, such as dvd, have transformed modes of film consumption and thus affected viewers? relationship to the image and to narrative structure. dvd gives viewers control of both image and story, so that films produced to be seen collectively and followed as their linear narratives demand may be found to contain unexpected (even unintended) and multiple structures of pleasure. The tension between the still frame and the moving image coincides with the cinema?s capacity to capture the appearance of life and preserve it after death. Mulvey proposes that with the arrival of new technologies and new ways of experiencing the cinematic image, film?s hidden stillness comes to the fore, thereby acquiring a new accessibility and visibility. The individual frame, the projected film?s best-kept secret, can now be revealed, by anyone, at the simple touch of a button. Easy access to repetition, slow motion and the freeze-frame may well shift the spectator?s pleasure to a fetishistic rather than a voyeuristic investment in the cinematic object.Yet, there is another, narrative aspect to the stillness/movement tension that is not specific to the cinema but has been reworked and reinvented within the constraints of mass entertainment story-telling. Mulvey detects, at the present moment, an attraction to endings, and with the threat of ?ending? hanging over the cinema itself, there is an extra awareness of the deathlike properties of narrative closure. Inevitably, such a conjunction shifts the attention of the psychoanalytically influenced critic away from a preoccupation with the erotic, as the propelling force of narrative, towards death. Freud?s concept of the death drive as applied to narrative structure allows a theoretical reassessment of cinematic story-telling which ultimately converges with cinema?s inherent stillness, its own death-like properties. The manipulation of the cinematic image by the viewer also makes visiblecinema's material and aesthetic attributes. By exploring how new technologiescan give new life to 'old' cinema, Death 24x A Second offers an originalre-evaluation of film's history and also its historical usefulness. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Paperback. Condición: new. Paperback. In Death 24 x a Second, Laura Mulvey addresses some of the key questions of film theory, semiotics, spectatorship and narrative. New media technologies, such as dvd, have transformed modes of film consumption and thus affected viewers? relationship to the image and to narrative structure. dvd gives viewers control of both image and story, so that films produced to be seen collectively and followed as their linear narratives demand may be found to contain unexpected (even unintended) and multiple structures of pleasure. The tension between the still frame and the moving image coincides with the cinema?s capacity to capture the appearance of life and preserve it after death. Mulvey proposes that with the arrival of new technologies and new ways of experiencing the cinematic image, film?s hidden stillness comes to the fore, thereby acquiring a new accessibility and visibility. The individual frame, the projected film?s best-kept secret, can now be revealed, by anyone, at the simple touch of a button. Easy access to repetition, slow motion and the freeze-frame may well shift the spectator?s pleasure to a fetishistic rather than a voyeuristic investment in the cinematic object.Yet, there is another, narrative aspect to the stillness/movement tension that is not specific to the cinema but has been reworked and reinvented within the constraints of mass entertainment story-telling. Mulvey detects, at the present moment, an attraction to endings, and with the threat of ?ending? hanging over the cinema itself, there is an extra awareness of the deathlike properties of narrative closure. Inevitably, such a conjunction shifts the attention of the psychoanalytically influenced critic away from a preoccupation with the erotic, as the propelling force of narrative, towards death. Freud?s concept of the death drive as applied to narrative structure allows a theoretical reassessment of cinematic story-telling which ultimately converges with cinema?s inherent stillness, its own death-like properties. The manipulation of the cinematic image by the viewer also makes visiblecinema's material and aesthetic attributes. By exploring how new technologiescan give new life to 'old' cinema, Death 24x A Second offers an originalre-evaluation of film's history and also its historical usefulness. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.