000			03787cam a2200397 i 4500
001			on1312727209
003			OCoLC
005			20240726104853.0
008			220426t20222022stka fo 000 0 eng d
040			_aDEGRU _beng _erda _epn _cDEGRU _dOCLCO _dYDXIT _dOCLCQ _dYDX _dJSTOR _dEBLCP _dOCLCF _dNT
020			_a9781474483476 _q((electronic)l(electronic)ctronic)
043			_ae------
050	0	4	_aPN1995 _b.R476 2022
049			_aMAIN
100	1		_aTalijan, Emilija, _e1
245	1	0	_aResonant Bodies in Contemporary European Art Cinema /Emilija Talijan.
260			_aEdinburgh : _bEdinburgh University Press, _c(c)2022.
300			_a1 online resource (1 volume) : _billustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
505	0	0	_tFrontmatter -- _tContents -- _tFigures -- _tAcknowledgements -- _tIntroduction -- _tPart I The Unlistenable -- _tCHAPTER 1 The Body at Close Range: Volume and the Unlistenable in Catherine Breillat's Anatomy of Hell -- _tCHAPTER 2 Sonic Subjection: Gaspar Noé's Irreversible and the Dystopian Limits of the Resonant Body -- _tPart II Migratory Noise -- _tCHAPTER 3 A Stranger Everywhere: The écho-monde of Tony Gatlif's Exiles -- _tCHAPTER 4 Feedback, Asynchronicity and Sonic Sociabilities: Arnaud des Pallières's Adieu -- _tPart III Nonhuman Noise -- _tCHAPTER 5 Listening at the Limit: Nonhuman Noise in Lars von Trier's Antichrist -- _tCHAPTER 6 Listening to Things: Foley as 'Alien Phenomenolog y' and Peter Strickland's Berberian Sound Studio -- _tConclusion -- _tFilmography -- _tBibliography -- _tIndex
520	0		_aProvides 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			_a2 _ub
650		0	_aSound in motion pictures.
650		0	_aCinematography _xSpecial effects.
650		0	_aMotion pictures _zEurope _xHistory.
650		0	_aMotion pictures _zEurope _xPhilosophy.
655		1	_aElectronic Books.
856	4	0	_zClick to access digital title | log in using your CIU ID number and my.ciu.edu password. _uhttpss://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=3304253&site=eds-live&custid=s3260518
942			_cOB _D _eEB _hPN. _m2022 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c81222 _d81222
902			_a1 _bCynthia Snell _c1 _dCynthia Snell