Buy Death 24X A Second by Laura Mulvey (ISBN: ) from Amazon’s Book Store. Everyday low prices and free delivery on eligible orders. In her fascinating Death 24x a Second, Laura Mulvey offers a particularly ingenious division of the history of cinema. In its first phase, she argues, cinema was. Death 24x a Second is a fascinating exploration of the role new media and narrative, Laura Mulvey here argues that such technologies, including home DVD.
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Debra rated it really liked it May 25, The digital image is characterised by a break, or at least by a deep attenuation, of the indexical relationship with the pro-filmic object or event. Brian rated it liked it Nov 20, The single click on the pause button thus marks a new paradigm.
Psychopu rated it really liked it Sep 16, In Death 24x Mulvey relates the existing speed of cinema or cinema time to story or narrative time. Want to Read saving…. He argues in Creative Evolution that movement can always be analysed after the fact, but that it cannot be understood to be built up out of the immobile sections which analysis may detect 2.
Books by Laura Mulvey. Alternative kinds of visual pleasure, as the fragment quoted above has it, were expected to be brought about by alternative avant-garde filmmakers, Mulvey herself included. Quoting mhlvey her earlier text, she writes: Not only can the viewer pause the film watched on video or DVD for a restroom or refill break at any moment, but fragments can also be reviewed, both forwards and backwards, both accelerated and more importantly decelerated.
seclnd Heidi Kitch rated it really liked it Jan 05, Ludek Novy rated it liked it Mar 14, Let us not forget that, not so long ago, cultural theorists wrote paeans umlvey the consciousness-raising power of the humble VCR, or even the zapper on the TV remote control — and yet these devices hardly delivered to the world new generations of aware, radicalised viewers.
Fortunately for all of us, history does not end there.
In this respect, scopophilia visual pleasure increases at the expense of ego libido investment. This complex interaction of looks is specific to film. However, it is fair to say that many film scholars whose formation predates this Mjlvey Turn are greeting it with indifference, suspicion or outright disdain. Space, Politics, Affect N. But — and this is just as significant — she has never repudiated it, either, as so many intellectuals are prone to do when they spectacularly convert from one movement or ideology to another.
Laura Mulvey knows a thing or two about being fossilised.
Death 24x a Second: Stillness and the Moving Image
Human perception is always selective, but a camera is indifferent and records whatever appears in front of its eye, without human laurq. This factor, however, concerns the camera look, not, or not so much, the look of the audience — in a pre-video era.
Likewise, time cannot be understood as an addition of instants that do not themselves endure, even if time can always be measured by such instants. To see what your friends thought of this book, please sign up.
And yet, from another angle, even this amounts to a demonstration of Mulvey finding a way to live historically within her own practice: No trivia or quizzes yet. Paperbackpages. Henri Bergson, Creative Evolutiontrans. Jesse rated it really liked it Feb 03, Reaktion Books- Performing Arts – pages.
Death 24x a Second by Laura Mulvey from Reaktion Books
This present, Barthes argued, tends to obscure the past-ness with which still photography confronts us. Mulvey, for her part, expresses no explicitly negative sentiments towards this new wave of film-and-philosophy in Death 24x a Second.
Michelle Smiley rated it it was amazing Apr 26, I find it very useful in my film work. Lauraa rated it really liked it Jun 26, The first blow against the monolithic accumulation of traditional film conventions already undertaken by radical film-makers is to free the look of the camera into the materiality of time and space and the look of the audience into dialectics and passionate detachment. Stillness and the Moving Image.
Death 24x a Second: Stillness and the Moving Image by Laura Mulvey
Rebecca Patterson rated it it was amazing Oct 23, Trivia About Death 24x a Secon Watching a Hollywood film, we do not so much see the male protagonist as we see what and how he sees. While movement and duration are always qualitative, with variable degrees of intensity and expansion, the reproduced movement in the cinema owes its animation to the movement of a mechanical projector — a movement which is always invariably the same.
This led Lev Manovich to conclude that cinema meaning analogue film is the attempt to make art out of a footprint 6. Sudhir Mahadevan rated it liked it Apr 02, Mulvey is far from being the severe theorist of the male gaze in cinema that she is so often caricatured as.