000			05691cam a2200505Mi 4500
001			on1065414884
003			OCoLC
005			20240726105120.0
008			181117s2018 gw ob 001 0 eng d
040			_aEBLCP _beng _epn _erda _cEBLCP _dMERUC _dYDX _dOCLCQ _dOCL _dOCLCO _dOCLCQ _dNT
020			_a3825377962
020			_a3825356841
020			_a9783825356842
020			_a9783825377960 _q((electronic)l(electronic)ctronic)
050	0	4	_aPN1995 _b.T467 2018
049			_aMAIN
100	1		_aGernalzick, Nadja. _e1
245	1	0	_aTemporality in American Filmic Autobiography : _bCinema, Automediality and Grammatology with 'Film Portrait' and 'Joyce at 34'. _c
260			_aHeidelberg : _bUniversitätsverlag Winter, _c(c)2018.
300			_a1 online resource (536 pages)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
490	1		_aAmerican Studies - A Monograph Series ; _vv. 187
504			_a2
505	0	0	_aCover; Titel; Imprint; Contents; Acknowledgements; Preface; List of Tables and Figures; 1 World Provenance of Cinematic Autobiography in Selected Anglophone Research of 1977 to 2014; 2 Provenance by Country of Cinematic Autobiography by Decade in Selected Anglophone Research of 1977 to 2014 (Synopsis of Table 1); 3 Cinema and Selected Time Vocabularies (Synopsis); 4 A-Series vs. B-Series after John M.E. McTaggart (Gell1992, 157); 5 Synopsis of Data on Segment Durations in Selected Filmic Autobiographies; 6 Segment Durations in Selected Filmic Autobiographies.
505	0	0	_a1 Two Cameras in "Playing the Part" (Film Still)2 Mounted Photograph in "Playing the Part" (Film Still); 3 Scratched and Perforated Film in "Dog Star Man" (1961-1964) (Film Still); 4 Infant Sarah at the Editing Table with Her Mother in "Joyce at 34" (Film Still); 5 Infant Sarah Fed by Her Father at Work with a Screenwriting Collaborator in "Joyce at 34" (Film Still); 6 to 9 Weill Negotiating Participants, Camera, Microphone and Airport Walk in "Joyce at 34" (Film Stills); 10 Hill with Oakes and Camera on Tripod at Cassis in1950 in "Film Portrait" (Film Still)
505	0	0	_a11 Hill with Oakes and Camera on Tripod at Cassis in 1970 in "Film Portrait" (Film Still)12 to 14 Stairway at Cassis in 1930, 1950 and 1970 in "Film Portrait" (Film Stills); 15 Train at La Ciotat Station in 1895 from the Lumières' "L'Arrivée dún Train à La Ciotat" quoted in "Film Portrait" (Film Still); 16 Train at La Ciotat Station in 1970 in "Film Portrait" (Film Still); 17 Segments of Nine of the Filmmaker's Films with Simultaneous Movement by Split-Screen Device in "Film Portrait" (Film Still); 18 The Filmmaker at the Editing Table in "Film Portrait"(Film Still)
505	0	0	_a19 "A Scholar in His Study ('Faust')", Etching by Rembrandt,c. 1652, The Metropolitan Museum of Art, New York, Online Catalogue (Photographic Reproduction)20 Superimposition of Image of Etching by Rembrandt and Image of Filmmaker at Editing Table in "Film Portrait"(Film Still); 21 Completed Transformation into the Filmmaker at the Editing Table in "Film Portrait" (Film Still); 22 Sarah Pushing the Chair in "Joyce at 34" (Film Still); 23 Seder Ceremony in "Joyce at 34" (Film Still); 24 Protagonist in Nightgown before Mirror in "Joyce at 34" (Film Still)
505	0	0	_a25 Protagonist Musing on a Couch in "Joyce at 34" (FilmStill)26 Protagonist on a Filming Location in "Joyce at 34" (FilmStill); 27 Double Female Gaze after Keyssar in "Joyce at 34" (Film Still); 28 Chopra and Cole (left) after Birth of Sarah Rose Cole (Held by Obstetrician) in "Joyce at 34" (Film Still); 29 Animated Collage Sequence of View Through Train Window in "Film Portrait" (Film Still); 30 Hand-Colored Image of Water Whirl Used for Reverse Motion in "Film Portrait" (Film Still)
500			_a31 to 34 Mirror Scenes in "Sherman's March, Playing the Part, Blackstar", and the Genre-Critical "David Holzman's Diary" with Camera Reflected in Mirror (Film Stills)
520	8		_aDrawing on grammatology, historical semantics and discourse theory, Temporality in American Filmic Autobiography treats automediality in semiotic materiality and transmediality as processuality and relationality of agency at an intersection of auto/biography studies, film studies and media studies, reviews concepts of time in philosophy, sociology, cinema studies and narratology, and applies critical vocabularies of temporality and temporalization in an extended analysis of two classics of 1970s American filmic autobiography, Film Portrait, by Jerome Hill and Joyce at 34, by Joyce Chopra and Claudia Weill. The study of film, time and self-processing develops the grammatology of cinema from contemporary positions on cinematic semiosis, temporality, and contingency, filmic and postfilmic cinema, documentary-style film, deixis across media, and the trace as critical vocabulary. Among supplementary tables, a chapter offers an overview of the canonization and transnationalization of cinematic autobiography in anglophone research.
530			_a2 _ub
600	1	0	_aHill, Jerome, _d1905-1972.
630	0	0	_aJoyce at 34.
650		0	_aTime in motion pictures.
650		0	_aAutobiography.
650		0	_aMotion pictures _xPlots, themes, etc.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2040760&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPN.. _m2018 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c89584 _d89584
902			_a1 _bCynthia Snell _c1 _dCynthia Snell