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From Attendance to Performance: Spec...

Joy, Jonathan.

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From Attendance to Performance: Spectatorship, "Liveness," and the Emergence of Live Cinema.

Record Type:	Electronic resources : Monograph/item
Title/Author:	From Attendance to Performance: Spectatorship, "Liveness," and the Emergence of Live Cinema./
Author:	Joy, Jonathan.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
Description:	69 p.
Notes:	Source: Masters Abstracts International, Volume: 57-01.
Contained By:	Masters Abstracts International57-01(E).
Subject:	Film studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10620476
ISBN:	9780355310146

From Attendance to Performance: Spectatorship, "Liveness," and the Emergence of Live Cinema.
Joy, Jonathan.

From Attendance to Performance: Spectatorship, "Liveness," and the Emergence of Live Cinema. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 69 p.

Source: Masters Abstracts International, Volume: 57-01.

Thesis (M.F.A.)--State University of New York at Buffalo, 2017.

The intersection of the cinematic dispositif and the elusive spectator has been at the center of a rich debate since the late twentieth century. The cinematic spectator has gone through transformations and modifications, even shifting focus from ocular to haptic. The reference models comprise the work and theories by Jean-Louis Baudry, Laura Mulvey, Christian Metz, Vivian Sobchack, Gene Youngblood, and Laura U. Marks. Their contributions, moving from an ocular-centric epistemology of the late-twentieth century to an embodied, tactile, proprioceptive experience in the twenty-first century, have brought forth an ontology which provides deep consideration to the cinematic spectator.

ISBN: 9780355310146Subjects--Topical Terms:

2122736
Film studies.

From Attendance to Performance: Spectatorship, "Liveness," and the Emergence of Live Cinema.
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245 1 0 $a From Attendance to Performance: Spectatorship, "Liveness," and the Emergence of Live Cinema.
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300 $a 69 p.
500 $a Source: Masters Abstracts International, Volume: 57-01.
500 $a Adviser: Josephine Anstey.
502 $a Thesis (M.F.A.)--State University of New York at Buffalo, 2017.
520 $a The intersection of the cinematic dispositif and the elusive spectator has been at the center of a rich debate since the late twentieth century. The cinematic spectator has gone through transformations and modifications, even shifting focus from ocular to haptic. The reference models comprise the work and theories by Jean-Louis Baudry, Laura Mulvey, Christian Metz, Vivian Sobchack, Gene Youngblood, and Laura U. Marks. Their contributions, moving from an ocular-centric epistemology of the late-twentieth century to an embodied, tactile, proprioceptive experience in the twenty-first century, have brought forth an ontology which provides deep consideration to the cinematic spectator.
520 $a The following theoretical investigation focuses on the expansion of contemporary cinema and what constitutes a spectatorial experience in the XXI century. I argue for an act of metamorphosis in a form of contemporary cinema, namely live cinema, which engenders affective movements in the spectatorial experience. The performer and spectator in a live cinema performative setting are met with communicative exchanges entrenched in participation, improvisation, human agency, and communal relationships. Both parties enter an affectively composed journey built on proprioception, accidental performative occurrences, visceral desires, and ephemeral behavior. These developments in a live cinema framework are witness to a shift towards immediacy, spontaneity, immersion, and engagement found in an intuitive encounter with "liveness;" a practice which becomes visible in a real-time fractal performance space.
520 $a This thesis examines five case studies of Live Cinema, followed by a personal project performance. The intent is to map conceptual components of live cinema onto each study, placing spectatorial experience at the center.
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