Postcinematic Vision

Roger F. Cook is professor of German studies and director of the Film Studies Program at the University of Missouri. He has written extensively on film and media theory, New German Cinema, and contemporary German film. He coedited The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition and is coeditor of Berlin School Glossary: An ABC of the New Wave in German Cinema.

• ContentsIntroductionMoving-Image Media and Embodied SpectatorshipMedia Convergence and Remediation1. Film and the Embodied MindTechnogenesis: The Coevolution of the Biological and TechnologicalThe Phatic Image of Cinema-Reassessed“Consciousness Is an Epiphenomenon”Dual Temporalities of Media and the MindPostcinematic Reflections on Spectatorship2. 1900: Film Transforms the Media LandscapeFilm as Prosthetic Visual ConsciousnessMechanized Culture and the Moving ImageFilm and the Tyranny of Writing: Franz Kafka3. 2000: Cinema and the Digital ImageIntermedial Constructions of Cinema’s Virtual RealityDigital Mediations of Movement, Space, and TimeCinema and Singular ConsciousnessConclusionNotesBibliographyIndex

"Roger F. Cook’s groundbreaking book, Postcinematic Vision, is an original and intriguing contribution to the analysis of the emergence of cinematic technologies on the spectator. The analysis of changes in our perception in concert with changes in the history of film and post-filmic development is exigent for our time. Postcinematic Vision traces out a dialectical relationship between technologies and formal developments in film and changes in our experience of the body and its perceptual capacities, helping us take stock of where we stand today and what we stand against."-Todd McGowan, author of Emancipation After Hegel: Achieving a Contradictory Revolution"Interrogating the cinema’s historical intermediality with rare clarity, Roger F. Cook claims that film’s historical transformations of perception and sensation in the early twentieth century still fundamentally shape the phenomenology of digital media-not to mention the sensoria of its users. Along the way, he engages with key critics from Marshall McLuhan and Friedrich Kittler to Anne Friedberg, Lev Manovich, and David Rodowick, challenging and revising their findings via compelling film readings and astute deployment of discourses as diverse as cybernetics and post-Romantic theories of writing. Postcinematic Vision is a compelling and singular work on living with twenty-first century media."-Paul Young, Dartmouth College