From Méliès to New Media

Spectral Projections

Häftad, Engelska, 2019

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From Méliès to New Media contributes to a dynamic stream of film history that is just beginning to understand that new media forms are not only indebted to but firmly embedded within the traditions and conventions of early film culture. Adopting a media archaeology, this book will present a comparative examination of cinema including early film experiments with light and contemporary music videos, silent film and their digital restorations, German Expressionist film and post-noir cinema, French Gothic film and the contemporary digital remake, Alfred Hitchcock’s films exhibited in the gallery, post medium films as abstracted light forms and interactive digital screens revising experiments in precinema. Media archaeology is an approach that uncovers the potential of intermedial research as a fluid form of history. It envisages the potential of new discoveries that foreground forgotten or marginalised contributions to history. It is also an approach that has been championed by influential new historicists like Thomas Elsaesser as providing the most vibrant and productive new histories (2014).

Produktinformation

Utgivningsdatum2019-05-15
Mått178 x 229 x 11 mm
Vikt331 g
FormatHäftad
SpråkEngelska
Antal sidor201
FörlagIntellect
ISBN9781783209897

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Wendy Haslem teaches and researches the intersections of film history and new media. At present, she is a lecturer in screen studies at the University of Melbourne. She is a co-creator of The Godzilla Project, an interactive, multimedia portal designed to introduce students to film history, atomic culture and trauma cinema using 1950s disaster films. Wendy teaches in screen studies and arts and cultural management, coordinating subjects that include film noir, censorship and exhibition.

List of IllustrationsAcknowledgementsIntroduction: Beginnings and Ends: Historical Collusion Chapter 1: Cigarette Burns and Bullet Holes: Celluloid Cues in Digital CinemaSection I: Early Cinema: Colour and SpectralityChapter 2: Applied Colour: Chromatic Frankenstein's Monsters?Chapter 3: The Serpentine Dance Films: 'Dream Visions That Change Ten Thousand Times a Minute'Section II: Luminescence, Montage and Frame RatiosChapter 4: Memory and Noir: Neon Contrasts Chapter 5: Cutting: Shock and EnduranceChapter 6: Screens, Scale Ratio: Vertical Celluloid in the Digital AgeSection III: Cinema Beyond the FrameChapter 7: Hallucinatory Framing and Kaleidoscopic VisionChapter 8: Ephemeral Screens: The MuybridgizerBibliography Index