By Eric Cazdyn
ISBN-10: 0822329123
ISBN-13: 9780822329121
Cazdyn specializes in 3 key moments of ancient contradiction: colonialism, post-war reconstruction, and globalization. contemplating nice classics of jap movie, documentaries, works of technological know-how fiction, animation, and pornography, he brings to mild cinematic makes an attempt to return to phrases with the tensions inherent in every one historic moment—tensions among the colonizer and the colonized, among the person and the collective, and among the nationwide and the transnational. Paying shut awareness to political context, Cazdyn indicates how formal innovations within the geographical regions of performing, movie historical past and thought, thematics, documentary filmmaking, and model articulate a fight to unravel implacable ancient difficulties. This leading edge paintings of cultural background and feedback bargains reasons of ancient switch that problem traditional differences among the classy and the geopolitical.
Read or Download The Flash of Capital: Film and Geopolitics in Japan PDF
Similar video books
Time (25 May 2015) - download pdf or read online
Time, may possibly 25 2015
TIME magazine’s signature voice and relied on content material make it the most famous information manufacturers on this planet. delivering incisive reporting, energetic writing and world-renowned images, TIME has been credited with bringing journalism at its top into the cloth of yank lifestyles. each factor grants a deeper realizing of the realm we are living in.
Download PDF by K. Moti Gokulsing, Wimal Dissanayake: Routledge Handbook of Indian Cinemas
India is the biggest movie generating kingdom on the earth and its output has a world succeed in. After years of marginalisation by means of teachers within the Western global, Indian cinemas have moved from the outer edge to the centre of the area cinema in a relatively brief house of time. Bringing jointly contributions from prime students within the box, this guide appears on the advanced purposes for this extraordinary trip.
The coming of the electronic age has created the necessity to have the ability to shop, deal with, and digitally use an ever-increasing quantity of video and audio fabric. therefore, video cataloguing has emerged as a demand of the days. Video Cataloguing: constitution Parsing and content material Extraction explains how one can successfully practice video constitution research in addition to extract the elemental semantic contents for video summarization, that's crucial for dealing with large-scale video facts.
- Visible Nations: Latin American Cinema and Video
- Image and Video Technology: 7th Pacific-Rim Symposium, PSIVT 2015, Auckland, New Zealand, November 25-27, 2015, Revised Selected Papers
- Ex-Cinema: From a Theory of Experimental Film and Video
- Multimedia image and video processing
- Interaktives Video im Internet mit Flash: Konzeption und Produktion von Videos für das WWW
Additional info for The Flash of Capital: Film and Geopolitics in Japan
Example text
Crisis, therefore, is not contingent on any type of anomaly. Rather, it is wrapped up in the very logic of capitalist and cinematic development. This then shifts the concept of crisis from a secondary concern to a primary one in the attempt to account for change on both the capitalist and filmic levels. What happens after these crises—how they are recuperated and whether they can be linked to revolutionary (both cultural and political) movements—is not inherent in this logic itself. It is contingent on social praxis and a particular historical conjuncture.
We discern differently. We represent differently. And to complicate matters further, this ‘‘we’’ is shot through with difference so that we not only perceive differently, but we also differently perceive. The question then becomes how to account for differences in perception and representation at different historical moments and among different subjects. The following chapters all attempt to get at this question by examining the inextricable relationship between dominant forms of cinematic production and dominant forms of capitalist accumulation.
However, wide-screen technology did not stick during this time, partly because of its competition with the even more radical transformations to sound. Widescreen film would have to wait until the 1950s before reaching a critical mass. 34 In addition to these non-technological explanations of why wide-screen film ‘‘worked’’ in the 1950s and not the 1920s is that perception habits were in crisis and historically ready for, and desiring, different forms of narration. This logic of crisis is built into film production and consumption.
The Flash of Capital: Film and Geopolitics in Japan by Eric Cazdyn
by Thomas
4.4