MARC details
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03787cam a2200397 i 4500 |
| 001 - CONTROL NUMBER |
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on1312727209 |
| 003 - CONTROL NUMBER IDENTIFIER |
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OCoLC |
| 005 - DATE AND TIME OF LATEST TRANSACTION |
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20240726104853.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION |
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220426t20222022stka fo 000 0 eng d |
| 040 ## - CATALOGING SOURCE |
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| Original cataloging agency |
DEGRU |
| Language of cataloging |
eng |
| Description conventions |
rda |
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pn |
| Transcribing agency |
DEGRU |
| Modifying agency |
OCLCO |
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YDXIT |
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OCLCQ |
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YDX |
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JSTOR |
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EBLCP |
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OCLCF |
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NT |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
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| International Standard Book Number |
9781474483476 |
| Qualifying information |
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| 043 ## - GEOGRAPHIC AREA CODE |
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| Geographic area code |
e------ |
| 050 04 - LIBRARY OF CONGRESS CALL NUMBER |
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| Classification number |
PN1995 |
| Item number |
.R476 2022 |
| 049 ## - LOCAL HOLDINGS (OCLC) |
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| Holding library |
MAIN |
| 100 1# - MAIN ENTRY--PERSONAL NAME |
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| Personal name |
Talijan, Emilija, |
| Relator term |
Author |
| 245 10 - TITLE STATEMENT |
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| Title |
Resonant Bodies in Contemporary European Art Cinema /Emilija Talijan. |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. |
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| Place of publication, distribution, etc. |
Edinburgh : |
| Name of publisher, distributor, etc. |
Edinburgh University Press, |
| Date of publication, distribution, etc. |
(c)2022. |
| 300 ## - PHYSICAL DESCRIPTION |
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| Extent |
1 online resource (1 volume) : |
| Other physical details |
illustrations |
| 336 ## - CONTENT TYPE |
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| Content type term |
text |
| Content type code |
txt |
| Source |
rdacontent |
| 337 ## - MEDIA TYPE |
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| Media type term |
computer |
| Media type code |
c |
| Source |
rdamedia |
| 338 ## - CARRIER TYPE |
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| Carrier type term |
online resource |
| Carrier type code |
cr |
| Source |
rdacarrier |
| 347 ## - DIGITAL FILE CHARACTERISTICS |
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| File type |
data file |
| Source |
rda |
| 504 ## - BIBLIOGRAPHY, ETC. NOTE |
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| Bibliography, etc. note |
Includes bibliographies and index. |
| 505 00 - FORMATTED CONTENTS NOTE |
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| Title |
Frontmatter -- |
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Contents -- |
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Figures -- |
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Acknowledgements -- |
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Introduction -- |
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Part I The Unlistenable -- |
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CHAPTER 1 The Body at Close Range: Volume and the Unlistenable in Catherine Breillat's Anatomy of Hell -- |
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CHAPTER 2 Sonic Subjection: Gaspar Noé's Irreversible and the Dystopian Limits of the Resonant Body -- |
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Part II Migratory Noise -- |
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CHAPTER 3 A Stranger Everywhere: The écho-monde of Tony Gatlif's Exiles -- |
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CHAPTER 4 Feedback, Asynchronicity and Sonic Sociabilities: Arnaud des Pallières's Adieu -- |
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Part III Nonhuman Noise -- |
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CHAPTER 5 Listening at the Limit: Nonhuman Noise in Lars von Trier's Antichrist -- |
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CHAPTER 6 Listening to Things: Foley as 'Alien Phenomenolog y' and Peter Strickland's Berberian Sound Studio -- |
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Conclusion -- |
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Filmography -- |
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Bibliography -- |
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Index |
| 520 0# - SUMMARY, ETC. |
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| Summary, etc. |
Provides the first consideration of sound and the body in contemporary European art cinemaOffers detailed analysis of the underexplored dimension of sound in the work of some of the best-known contemporary European art film directorsProvides a stimulating contribution to theories of cinematic spectatorship showing how sound, noise and listening can rethink all aspects of the filmic experienceExplores the conceptualisation of cinema as a resonant bodyConsiders the sonic dimensions of cinema alongside prescient current debates in European film and criticism about the body, migration and exile, as well as anthropocentrism and anthropocentric modes of representationWhat does it mean to exist, in our experience of cinema, according to listening? How do sound and 'noise' reconfigure relations between spectators and screens, and by extension, spectators and their worlds? How do films raise questions about the ethics and politics of listening to different bodies?Resonant Bodies in Contemporary European Art Cinema answers these questions through an analysis of films by Catherine Breillat, Gaspar Noé, Tony Gatlif, Arnaud des Pallières, Lars von Trier and Peter Strickland. These post-millennial European directors have worked with sound in ways that resist the full-definition and perfect hearing offered by Dolby technology. Instead, they have privileged 'noise' - sounds that take us to the limit of what we can hear - in a move that foregrounds the body on screen and constructs spectators as listening bodies. |
| 530 ## - COPYRIGHT INFORMATION: |
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| COPYRIGHT INFORMATION |
COPYRIGHT NOT covered - Click this link to request copyright permission: |
| Uniform Resource Identifier |
<a href="b">b</a> |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
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| Topical term or geographic name entry element |
Sound in motion pictures. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
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| Topical term or geographic name entry element |
Cinematography |
| General subdivision |
Special effects. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
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| Topical term or geographic name entry element |
Motion pictures |
| Geographic subdivision |
Europe |
| General subdivision |
History. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
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| Topical term or geographic name entry element |
Motion pictures |
| Geographic subdivision |
Europe |
| General subdivision |
Philosophy. |
| 655 #1 - INDEX TERM--GENRE/FORM |
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| Genre/form data or focus term |
Electronic Books. |
| 856 40 - ELECTRONIC LOCATION AND ACCESS |
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| -- |
Click to access digital title | log in using your CIU ID number and my.ciu.edu password. |
| Uniform Resource Identifier |
<a href="httpss://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=3304253&site=eds-live&custid=s3260518">httpss://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=3304253&site=eds-live&custid=s3260518</a> |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) |
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| Koha item type |
Online Book (LOGIN USING YOUR MY CIU LOGIN AND PASSWORD) |
| DONATED BY: |
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| VENDOR |
EBSCO |
| Classification part |
PN. |
| PUBLICATION YEAR |
2022 |
| LOCATION |
ONLINE |
| REQUESTED BY: |
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NFIC |
| Source of classification or shelving scheme |
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| 994 ## - |
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92 |
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NT |
| 902 ## - LOCAL DATA ELEMENT B, LDB (RLIN) |
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| a |
1 |
| b |
Cynthia Snell |
| c |
1 |
| d |
Cynthia Snell |