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In Moving: Filmmaking and the Kinaes...

Gadassik, Alla.

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In Moving: Filmmaking and the Kinaesthetics of Media Technology.

Record Type:	Electronic resources : Monograph/item
Title/Author:	In Moving: Filmmaking and the Kinaesthetics of Media Technology./
Author:	Gadassik, Alla.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2014,
Description:	344 p.
Notes:	Source: Dissertation Abstracts International, Volume: 75-07(E), Section: A.
Contained By:	Dissertation Abstracts International75-07A(E).
Subject:	Film studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3615522
ISBN:	9781303815416

In Moving: Filmmaking and the Kinaesthetics of Media Technology.
Gadassik, Alla.

In Moving: Filmmaking and the Kinaesthetics of Media Technology. - Ann Arbor : ProQuest Dissertations & Theses, 2014 - 344 p.

Source: Dissertation Abstracts International, Volume: 75-07(E), Section: A.

Thesis (Ph.D.)--Northwestern University, 2014.

This item is not available from ProQuest Dissertations & Theses.

This dissertation investigates the roots of the modern relationship between media technology and mobility. It examines the role of movement, from kinesthetic gestures to kinetic metaphors, in the development and dissemination of early filmmaking technology and filmmaking methods. How have early filmmakers experimented and communicated their methods of choreographing movement through media devices? How has the process of recording or generating moving images challenged traditional models of perceptual experience? To this end, the dissertation explores the dimension of movement not at the time of the film's reception, but in the duration of its making: shooting, editing, and animating. "In Moving" begins with an overview of nineteenth-century discourses on movement, tracing their influence on twentieth-century philosophy, psychology, and art. I outline a history of an "electromagnetic model" of motion, which reverberated throughout different disciplines interested in studying and imaging dynamic phenomena. Drawing on the work of philosopher Henri Bergson, as well as key scientific and psychological texts of the period, I argue that the development of the electromagnetic model of movement was accompanied by a cinematographic model" for human consciousness, which emphasized the mobile and graphic qualities of subjective experience. The subsequent chapters explore how this model played out in early cinema practice. Each chapter examines one dimension of filmmaking, focusing on a key pioneering filmmaker to establish a more detailed portrait of: cinematography (Dziga VERTOV); editing (Sergei EISENSTEIN); and animation (Walt DISNEY and Len LYE). Each dimension of the filmmaking process is explored through a discourse analysis of the filmmaker's written texts and lectures, alongside completed or discarded film segments, preparatory notes, sketches, and instruments. Each filmmaker's methods are also reevaluated in light of extensive archival research into writings by their colleagues, students, and anonymous or unacknowledged collaborators. Whereas contemporary film studies are predominantly concerned with the future of the moving *image* (the status of visual indexicality), this dissertation focuses on the *moving* aspect of cinema history and production. In doing so, "In Moving" builds a history of filmmaking as a history of kinesthetic subjectivity and a key antecedent to contemporary mobile media culture.

ISBN: 9781303815416Subjects--Topical Terms:

2122736
Film studies.

In Moving: Filmmaking and the Kinaesthetics of Media Technology.
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245 1 0 $a In Moving: Filmmaking and the Kinaesthetics of Media Technology.
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500 $a Source: Dissertation Abstracts International, Volume: 75-07(E), Section: A.
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506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a This dissertation investigates the roots of the modern relationship between media technology and mobility. It examines the role of movement, from kinesthetic gestures to kinetic metaphors, in the development and dissemination of early filmmaking technology and filmmaking methods. How have early filmmakers experimented and communicated their methods of choreographing movement through media devices? How has the process of recording or generating moving images challenged traditional models of perceptual experience? To this end, the dissertation explores the dimension of movement not at the time of the film's reception, but in the duration of its making: shooting, editing, and animating. "In Moving" begins with an overview of nineteenth-century discourses on movement, tracing their influence on twentieth-century philosophy, psychology, and art. I outline a history of an "electromagnetic model" of motion, which reverberated throughout different disciplines interested in studying and imaging dynamic phenomena. Drawing on the work of philosopher Henri Bergson, as well as key scientific and psychological texts of the period, I argue that the development of the electromagnetic model of movement was accompanied by a cinematographic model" for human consciousness, which emphasized the mobile and graphic qualities of subjective experience. The subsequent chapters explore how this model played out in early cinema practice. Each chapter examines one dimension of filmmaking, focusing on a key pioneering filmmaker to establish a more detailed portrait of: cinematography (Dziga VERTOV); editing (Sergei EISENSTEIN); and animation (Walt DISNEY and Len LYE). Each dimension of the filmmaking process is explored through a discourse analysis of the filmmaker's written texts and lectures, alongside completed or discarded film segments, preparatory notes, sketches, and instruments. Each filmmaker's methods are also reevaluated in light of extensive archival research into writings by their colleagues, students, and anonymous or unacknowledged collaborators. Whereas contemporary film studies are predominantly concerned with the future of the moving *image* (the status of visual indexicality), this dissertation focuses on the *moving* aspect of cinema history and production. In doing so, "In Moving" builds a history of filmmaking as a history of kinesthetic subjectivity and a key antecedent to contemporary mobile media culture.
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