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New PDF release: 10/40/70: Constraint as Liberation in the Era of Digital

By Nicholas Rombes

ISBN-10: 178279140X

ISBN-13: 9781782791409

In an period of swift transformation from analog to electronic, how will we write approximately cinema in ways in which are as clean, amazing, and hard because the top motion pictures are? In 10/40/70 Nicholas Rombes proposes one daring chance: pause a movie on the 10, forty, and 70-minute mark and write concerning the frames handy, it doesn't matter what they're. this technique of constraint—by putting off selection and foreclosing on authorial intention—allows the movie itself to dictate the phrases of its research free of the tyranny of predetermined interpretation. encouraged by means of Roland Barthes’s proposal of the “third meaning” and its specialise in the movie body as a picture that's neither a photo nor a relocating photo, Rombes assumes the function of picture detective, looking out the frames for clues not just in regards to the movies themselves—drawn from a variety of genres and time periods—but the very stipulations in their life within the electronic age.

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Additional resources for 10/40/70: Constraint as Liberation in the Era of Digital Film Theory

Sample text

All terms are potentially open to reconsideration, but only a few terms can and will be selected and worked through at speciWc points, to change their available set of connotations and effects. 24 Thresholds Terrain What Weld of study or terrain is implied by, or invited by, the intersecting ideas of Japan, Film, and History? Film history, as it was initiated in the 1950s, extended the model of art history to Wlm, as an international arena of visual practices, combined with the literary idea of an auteur, or director, conceived as primary artist in the studio production of cinema.

Laplanche describes a break from narcissistic centering as the unWnished Copernican revolution that Freud discussed, and a recuperative swerve as a Ptolemaic “return” or recentering on established assumptions. At a certain point, Japanese Wlm, like that of other nationalities, reached a pivotal moment when further knowledge seemed to depend on learning the language of its producers. As a result, a new generation of Wlm research appeared that combined language skills with Wlm analysis. The initial promise of this move was in part to radicalize the Weld of comparative literature, so that its traditional basis in European literary history could be shifted to include Asian and African languages, among others, and such new media as Wlm.

Bhabha’s innovation does not reject opposition, as a politics of resistance to domination, but relocates it as a Wgural ethics. Opposition becomes a contingent Wgure, crucial in some contexts but counterproductive in others, rather than a universal narrative. Said and Bhabha both mark junctures in the theorization of cultural difference, and they continue to be more often contested and misrecognized than worked through. Asemia All language is open to negational critique and deconstruction, but this does not mean that all language thereby becomes devalued and impossible to engage.

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10/40/70: Constraint as Liberation in the Era of Digital Film Theory by Nicholas Rombes

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