東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

The projector's noises: A media arch...

Egan, Kelly Fawn Weiss.

FindBook

Google Book

Amazon

博客來

The projector's noises: A media archaeology of cinema through the projector.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The projector's noises: A media archaeology of cinema through the projector./
作者:	Egan, Kelly Fawn Weiss.
面頁冊數:	304 p.
附註:	Source: Dissertation Abstracts International, Volume: 75-06(E), Section: A.
Contained By:	Dissertation Abstracts International75-06A(E).
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NS22334
ISBN:	9780499223340

The projector's noises: A media archaeology of cinema through the projector.
Egan, Kelly Fawn Weiss.

The projector's noises: A media archaeology of cinema through the projector. - 304 p.

Source: Dissertation Abstracts International, Volume: 75-06(E), Section: A.

Thesis (Ph.D.)--Ryerson University (Canada), 2013.

This item must not be sold to any third party vendors.

This dissertation provides a media archaeology of the film projector, concentrating on the conceptualization and use of projector noise through the lens of the modernist and contemporary avant-garde, that offers new ways of understanding cinema, interpreting embodied cinematic space, and extending the discourse on audiovision in general. Looking toward the projector allows us to see how it is a productive labourer in the construction of cinematic experience. Listening to its noises--- which have been framed as insignificant and/or unwanted---allows us to understand the way cinema is in fact a performative art with a certain kind of liveness. Part One of this dissertation traces an alternative history of cinema focused on the projector beginning with the pre-cinema technologies of the camera obscura, the telescope and the magic lantern. Part Two analyzes how the avant-garde has engaged with the projector-as-instrument during three major technological transitional moments in cinema: first, early cinema and the rise of the Cinematographe by looking at the Italian futurists, specifically Arnaldo Ginna and Bruno Corra's interest in the projector-as-instrument and the relationship between the Cinematographe and Luigi Russolo's intonarumori; second, the advent of sound-on-film technology and how it was used to produce synthetic noises by Oskar Fischinger, Laszlo Moholy-Nagy, Peter Kubelka and the author; and third, at the moment of the digital transition filmmakers like Bruce McClure and Karl Lemieux who have returned to explore the performativity and materiality of the projector in their artwork. At a time when the discourse of cinema is rife with rhetoric proclaiming its death (under threat of the digital revolution), this dissertation serves to establish that film is far from dead; through the projector-as-instrument, the future is bright...and very noisy.

ISBN: 9780499223340Subjects--Topical Terms:

854529
Cinema.

The projector's noises: A media archaeology of cinema through the projector.
LDR:02891nmm a2200301 4500 001 2057578
005 20150610075028.5
008 170521s2013 ||||||||||||||||| ||eng d
020 $a 9780499223340
035 $a (MiAaPQ)AAINS22334
035 $a AAINS22334
040 $a MiAaPQ $c MiAaPQ
100 1 $a Egan, Kelly Fawn Weiss. $3 3171445
245 1 4 $a The projector's noises: A media archaeology of cinema through the projector.
300 $a 304 p.
500 $a Source: Dissertation Abstracts International, Volume: 75-06(E), Section: A.
502 $a Thesis (Ph.D.)--Ryerson University (Canada), 2013.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a This dissertation provides a media archaeology of the film projector, concentrating on the conceptualization and use of projector noise through the lens of the modernist and contemporary avant-garde, that offers new ways of understanding cinema, interpreting embodied cinematic space, and extending the discourse on audiovision in general. Looking toward the projector allows us to see how it is a productive labourer in the construction of cinematic experience. Listening to its noises--- which have been framed as insignificant and/or unwanted---allows us to understand the way cinema is in fact a performative art with a certain kind of liveness. Part One of this dissertation traces an alternative history of cinema focused on the projector beginning with the pre-cinema technologies of the camera obscura, the telescope and the magic lantern. Part Two analyzes how the avant-garde has engaged with the projector-as-instrument during three major technological transitional moments in cinema: first, early cinema and the rise of the Cinematographe by looking at the Italian futurists, specifically Arnaldo Ginna and Bruno Corra's interest in the projector-as-instrument and the relationship between the Cinematographe and Luigi Russolo's intonarumori; second, the advent of sound-on-film technology and how it was used to produce synthetic noises by Oskar Fischinger, Laszlo Moholy-Nagy, Peter Kubelka and the author; and third, at the moment of the digital transition filmmakers like Bruce McClure and Karl Lemieux who have returned to explore the performativity and materiality of the projector in their artwork. At a time when the discourse of cinema is rife with rhetoric proclaiming its death (under threat of the digital revolution), this dissertation serves to establish that film is far from dead; through the projector-as-instrument, the future is bright...and very noisy.
590 $a School code: 1428.
650 4 $a Cinema. $3 854529
650 4 $a Anthropology, Archaeology. $3 622985
650 4 $a History, General. $3 1017448
690 $a 0900
690 $a 0324
690 $a 0578
710 2 $a Ryerson University (Canada). $3 1029949
773 0 $t Dissertation Abstracts International $g 75-06A(E).
790 $a 1428
791 $a Ph.D.
792 $a 2013
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NS22334