The Transparency of Spectacle: Meditations on the Moving Image

Overview

While agreeing that the "digitization" of the cinema is inevitable, and even a necessary adjustment to the economic realities of end-of-the-millennium cinema production, Dixon argues that it represents a fundamental representational shift in the relationship between the spectator and the image-production apparatus of the cinematograph. More than ever all visual input is merely raw material which is then subjected to digital "polishing" and "tweaking" until it attains a sheen of artificial splendor that is utterly...
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Overview

While agreeing that the "digitization" of the cinema is inevitable, and even a necessary adjustment to the economic realities of end-of-the-millennium cinema production, Dixon argues that it represents a fundamental representational shift in the relationship between the spectator and the image-production apparatus of the cinematograph. More than ever all visual input is merely raw material which is then subjected to digital "polishing" and "tweaking" until it attains a sheen of artificial splendor that is utterly removed from the photographic reproduction of the object and/or person originally photographed.
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Editorial Reviews

Booknews
Argues that the rise of the use of VCRs; the Internet; and digital, cable, and satellite technologies is causing a fundamental shift not only in the way that we produce and consume moving images, but also in the way that we view the very nature of moving images and their various genres. While the author believes that the rise of these technologies has allowed for greater centralization of power over the media of expression by large multinationals, he also points out a variety of critical revisions of the standards of cinema that they have also made possible. He covers a rang of alternative film practices, including post-Revolutionary Iranian cinema, feminist genre revisionism, the race-conscious films of the Sankofa collective, and the low-budget film-making of Roger Corman. Annotation c. by Book News, Inc., Portland, Or.
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Product Details

Table of Contents

Acknowledgments
Ch. 1 Moving the Center: The Reconfiguration of the Moving Image 1
Ch. 2 Images of Empire Lost (Losey, Wallace, and the Danzigers) and Empire Regained (the Sankofa Collective) 47
Ch. 3 The Limits of Cinematic Spectacle: Considerations on the Horror Film 103
Ch. 4 Spectacles of Impoverishment: Recycling the Image Bank 141
Bibliography 187
About the Author 205
Index 207
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