|
|
|
|
| LEADER |
00000nam a22000005i 4500 |
| 001 |
978-3-319-96743-1 |
| 003 |
DE-He213 |
| 005 |
20240627171059.0 |
| 007 |
cr nn 008mamaa |
| 008 |
180827s2018 sz | s |||| 0|eng d |
| 020 |
|
|
|a 9783319967431
|9 978-3-319-96743-1
|
| 024 |
7 |
|
|a 10.1007/978-3-319-96743-1
|2 doi
|
| 050 |
|
4 |
|a PN1995
|
| 072 |
|
7 |
|a APFA
|2 bicssc
|
| 072 |
|
7 |
|a PER004000
|2 bisacsh
|
| 072 |
|
7 |
|a ATFA
|2 thema
|
| 082 |
0 |
4 |
|a 791.4301
|2 23
|
| 100 |
1 |
|
|a Comanducci, Carlo.
|e author.
|4 aut
|4 http://id.loc.gov/vocabulary/relators/aut
|
| 245 |
1 |
0 |
|a Spectatorship and Film Theory
|h [electronic resource] :
|b The Wayward Spectator /
|c by Carlo Comanducci.
|
| 250 |
|
|
|a 1st ed. 2018.
|
| 264 |
|
1 |
|a Cham :
|b Springer International Publishing :
|b Imprint: Palgrave Macmillan,
|c 2018.
|
| 300 |
|
|
|a VII, 208 p.
|b online resource.
|
| 336 |
|
|
|a text
|b txt
|2 rdacontent
|
| 337 |
|
|
|a computer
|b c
|2 rdamedia
|
| 338 |
|
|
|a online resource
|b cr
|2 rdacarrier
|
| 347 |
|
|
|a text file
|b PDF
|2 rda
|
| 505 |
0 |
|
|a 1. Introduction: Film theory, a divided passion? -- 2. The heteronomy of subjectivity and the spectator’s emancipation -- 3. Everyday film theory -- 4. Situatedness and contingency of film experience -- 5. The process of free association and film as an evocative object -- 6. The indeterminacy of embodiment -- 7. The spectator as a history of encounters.
|
| 520 |
|
|
|a This book interrogates the relation between film spectatorship and film theory in order to criticise some of the disciplinary and authoritarian assumptions of 1970s apparatus theory, without dismissing its core political concerns. Theory, in this perspective, should not be seen as a practice distinct from spectatorship but rather as an integral aspect of the spectator’s gaze. Combining Jacques Rancière’s emancipated spectator with Judith Butler’s queer theory of subjectivity, Spectatorship and Film Theory foregrounds the contingent, embodied and dialogic aspects of our experience of film. Erratic and always a step beyond the grasp of disciplinary discourse, this singular work rejects the notion of the spectator as a fixed position, and instead presents it as a field of tensions—a “wayward” history of encounters.
|
| 650 |
|
0 |
|a Motion pictures.
|
| 650 |
|
0 |
|a Aesthetics.
|
| 650 |
1 |
4 |
|a Film Theory.
|
| 650 |
2 |
4 |
|a Aesthetics.
|
| 710 |
2 |
|
|a SpringerLink (Online service)
|
| 773 |
0 |
|
|t Springer Nature eBook
|
| 776 |
0 |
8 |
|i Printed edition:
|z 9783319967424
|
| 776 |
0 |
8 |
|i Printed edition:
|z 9783319967448
|
| 776 |
0 |
8 |
|i Printed edition:
|z 9783030072407
|
| 856 |
4 |
0 |
|u https://doi.org/10.1007/978-3-319-96743-1
|
| 912 |
|
|
|a ZDB-2-LCM
|
| 912 |
|
|
|a ZDB-2-SXL
|
| 950 |
|
|
|a Literature, Cultural and Media Studies (SpringerNature-41173)
|
| 950 |
|
|
|a Literature, Cultural and Media Studies (R0) (SpringerNature-43723)
|