Film history as media archaeology tracking digital cinema /
Thomas Elsaesser.
- Amsterdam : Amsterdam University Press, (c)2016. [Chicago] : University of Chicago Press, (c)2016.
- 1 online resource.
- Film culture in transition ; 50 .
Includes bibliographies and index.
Cover; Contents; Acknowledgements; General Introduction; Media Archaeology: Foucaultâ#x80;#x99;s Legacy; Film History as Media Archaeology; Is Media Archaeology a Supplement to or a Substitute for Film History?; Walter Benjamin and the Modernity Thesis; Noël Burch and â#x80;#x9C;Primitive Cinemaâ#x80;#x9D;; The Legacy of Michel Foucault; Media Archaeology by Default as well as by Design; Media Archaeology and the Digital Turn; Four Dominant Approaches; Media Archaeology and the Museum World; The Amsterdam Media Archaeology Network; The Deep Time of Media, or the Place of Cinema in (Media) History The Archive: Crises in History and MemoryThe Crisis in Narrative: Transmedia Studies and Participatory Culture; The Limits of Media Archaeology; I â#x80;#x93; Early Cinema; 1. Film History as Media Archaeology; Introduction; Early Cinema as Key to the New Media Paradigms?; The Cinema of Attractions: Early Cinema, Avant-garde, Post-Classical, and Digital Media; Media Archaeology I: Film History between Teleologies and Retroactive Causalities; Media Archaeology II: Family Tree or Family Resemblance?; Media Archaeology III: What is Cinema, Where is Cinema, and When is Cinema? 2. The Cinematic Dispositif(Between Apparatus Theory and Artistsâ#x80;#x99; Cinema); â#x80;#x9C;Mâ#x80;#x9D; is for Media Archaeology; The Dispositif Cinema: Conditions of Possibility, Definitions; The Cinematic Apparatus Between High Theory and Media Archaeology; Dispositif Mark 1: What was Cinema?; Dispositif Mark 2: Early Cinema; Dispositif Mark 3: Installation Art and the Moving Image; Dispositif Mark 4: Encounter and Event; The Dispositif as Interface?; Vanishing Points: Infinity versus Ubiquity; II â#x80;#x93; The Challenge of Sound; 3. Going â#x80;#x98;Liveâ#x80;#x99;; Body and Voice in Some Early German Sound Films A System of Double AddressDas Lied einer Nacht: Modernism versus Modernization; Horror Vacui or Ontological Vertigo?; Radio and Cinema; Going Live as Staying Alive; 4. The Optical Wave; Walter Ruttmann in 1929; The Film Industry and Avant-garde; International Cooperation against National Profiling; Painting with Time: Ruttmann and the Physiognomy of the Curve; â#x80;#x9C;Sound film is the topic of the dayâ#x80;#x9D;â#x80;#x94;the pivotal years: 1929-30; 1929 Melodie der Welt; The Film Author and the Commission: Ruttmann and the Industry; Ruttmann Believes It; III â#x80;#x93; Archaeologies of Interactivity 5. Archaeologies of InteractivityThe â#x80;#x9C;Rubeâ#x80;#x9D; as Symptom of Media Change; Attention â#x80;#x93; Problem or Solution?; The Rube Films: Towards a Theory of Embedded Attention; The (Extra-)Diegetic Spaces of Early Cinema; The Return of the Rube; Towards a New Reflexivity; 6. Constructive Instability; or: The Life of Things as Cinemaâ#x80;#x99;s Afterlife?; Here-Me-Now; Constructive Instability; Performed Failure: Narratives of Collapse; The Honda Cog; Der Lauf der Dinge; Around the World in Eighty Clicks; Cluster and Forking Path â#x80;#x9C;Rube Goldbergâ#x80;#x9D;; Cluster and Forking Path â#x80;#x9C;Pythagoras Switchâ#x80;#x9D; Cluster and Forking Path â#x80;#x9D;Domino Dayâ#x80;#x9D; and Celebrity TV